=MU RESUME 30 099 239 30 007 933 AUTHOR Forney, Trudy; and Others TITLE K-12 Art Guide

=MU RESUME 30 099 239 30 007 933 AUTHOR Forney, Trudy; And Others TITLE K-12 Art Guide. INSTITUTION Kansas State Dept. of Education, Topeka. Curriculum Section. PUB DATE 73 NOTE 80p. AVAILABLE FROM State Department of Education, 120 East 10th Street, Topeka, Kansas 66612 (Free)

EDRS PRICE MF-$0.75 HC Not Available frog EDRS. PLUSPOSTAGE DESCRIPTORS Age Groups; *Art; Art Activities; Art Appreciation; *Art Education; Art Materials; *Child Development; Curriculum Guides; Educational Objectives; Educational Philosophy; Elementary Education; Fundamental Concepts; Program Descriptions; Secondary Education ABSTRACT The development of students in various art fieldsis the focus of this K-12 art curriculum guide. The philosophyof the art program and the roles of administrator, teacher,and parent are outlined. The underlying school community relationships,and the objective, goals, and purposes of art educationare described. Phases of child development in general and for specificage groups from 4 to 18 years of age are given with the art characteristicsof these age groups and their art program goals. Fundamental art concepts-- color, light and shade, design, and composition-- as well as the basic media, are outlinedas to objectives, materials, and suggested projects. The remainder of the guide followsa format of objectives, materials, working knowledge, concepts, and suggestedprojects in presenting several art techniques. Methods,motivations, and processes are not dictated but are left to the individual teachers. Techniques in the guide include the following: lettering,interior and mural design, paper and paper mache, batik,tie-dying, printing, silversmithing, enameling, stained glass, wood,leather, textiles, ceramics, and sand casting. (Author/KSM) ,` " z :1.11"a4413/"Aas4re sr.

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'o BEST COPY AMUSE, K-12 ART GUIDE

Issued by: KANSAS STATE DEPARTMENT OF EDUCATION C. raylor Whittier, Commissioner

DIVISION OF INSTRUCTIONAL SERVICE Warren I. Bell, Assistant Commissioner

CURRICULUM SECTION Charles E. Nicholson, Director

Prepared by: Trudy Furney Derril Castor Art Department Art Department Russell High School Russell High School Gary Kroeger Art Education Specialist State Department of Education

Research: Art Priddy Sherry Brumgardt Elementary Art instructor Junior High Art Instructor Russell, Kansas Russell, Kansas

1973 BEST COPYAMIABLE

Foreword This guide is not a program of work for individual teachersor students but rather a guide to the development ofa youth in the various art fieldsa development that will help himto adjust to adult life. Meth- ods, motivations, andprocesses are not dictated but are left to the individual teachers. The art instructoras the leader must have a broad cultural education and a thorough training in the arts, for withouta strong teacher no art curriculum can hea success. The teacher must possess imagination and originality, for resourcefulness is developedin the student by the teacher. It is thepurpose of the teacher to develop the youth rather than to provide stockanswers. The philosophy that underlines the artprogram is based on the firm belief that art education today isan integral part of our democratic way of life. Art no longer exists solely within the cloistered hall of the museums. It has become far broader. It isan educational experience that no student should be denied for it is not forone person to predict what vistas lie ahead. It is safe tosay for the present that art has become a recognized factor in everyday living.Therefore, the understanding of art and its function isa necessary part of a well rounded educatipn. If yout.1 is handicapped bya lack of understanding and appreciation of the arts, vastavenues of experience are closed to him. All young people can never become artists, but since art isa visual statement of life, it is a language which a student can appreciate even if he cannot understand it. The artcourses in Kansas schools should he an integrating force in trainingour students to make the necessary adjustments essential to their healthy assimilation into adult society of a democratic people. We feel that a student who is educated without art is not truly educated at all. Acknowledgments Appreciation is extended to the following people who have contributed their ideas, efforts, resources, and research to this publication. The principal participants are listed here but many others have helped in secretarial and consultant capacities.

Richard Simpson Marilyn Locke Art Instructor Elementary Art Consultant Wamego High School Manhattan Public Schools Wamego, Kansas Manhattan, Kansas

Hester V. Snyder Edwin L. Smith Elementary Art Supervisor Art Supervisor El Dorado Public Schools Topeka Public Schools El Dorado, Kansas Topeka, Kanse

Harry Hart Art Supervisor Emporia Public Schools Emporia, Kansas

Photographs courtesy of: Edwin L. Smith Trudy Furney Derril Castor Art Supervisor Alt Instructor Art Instructor Topeka Public Schools Russell High SchoolRussell High School Topeka, Kansas Russell, Kansas Russell, Kansas Barry West Richard Stauffer Children's Art Workshop Childrens Art Workshop Kansas State Teachers CollegeKansas State Teachers College Emporia, Kansas Emporia, Kansas Jean Bass Art Instructor Topeka High Schoil Topeka, Kansas

Layout Paul R. Picker: II DESCOP1MAL Table of Contents

P4011 PAGE Philosophy 3 Interior Design 28 Art Program 3 Design 29 Role of Administrator 3 Mural Design 30 Role of the Teacher 4 Collage 31 Role of the Parent 4 Fold and Dye 32 School Community Relationships 4 Decorated Papers :32 Art as Creative Education 5 Paper 32 General and Educational Objectives ... 5 Two-Dimensional Art 33 Goals for Art Education 5 Stenciling 34 Purposes of Art Education 6 Tempera Batik 34 Phases of Child Growth 6 Batik 35 Kindergarten Art Characteristics .. 7 35 Art Characteristics Age 4-7 7 Wax and Resist Processes 35 Art Characteristics Age 8-9 7 Wax Resist 36 Art Characteristics Age 10-11 8 Block Printing 36 junior High Art 8 Printmaking 37 Goals for Junior High Art Program 9 Relief Printing :37 Growth and Development Age 12-14... 9 Printmaking 38 Senior High Art 10 Experimental Printing 38 Goals for the Senior High Art Program. 10 Monoprint 38 Growth and Development Age 15-18. . 10 Etching or Intaglio 39 Suggestions for the use of this Guide ... 11 A Theory of Color 11 Intaglio Printing 39 Color 12 Lithography :39 Light and Shade 14 Graphic Arts 39 Figuie Drawing and Portraiture 15 Silk Screen Printing 40 Suggested ProblemsColor 16 Mobiles 41 Design 17 Paper Sculpture 41 Composition 18 Papier Mache 42 Approaches to Painting 20 Three-Dimensional Papier Mache 42 Drawing 21 Three-Dimensional Art 42 Water Color Painting 22 Mask Making 43 Painting 23 Crafts 43 Freehand Drawing 24 Silversmithing 44 Oil Painting 24 Enameling 48 Art Understanding 25 inass 50 Evaluation 26 Plaster 51 Alt History 26 Stained Glass 51 Lettering 27 Ftching on Glass 52 Lettering and Layout Design 28 Mosaics 52 1:

PAUL PAGE Wood 53 Glazing and Decorative Effects 61 Leather 54 Stacking and Firing Kiln 61 The Textile Arts 54 Clay 61 Stitchery and Fabrics 55 The Potter's Wheel 63 Textile Decorating 55 Mold Making and Casting 63 Batik 56 Firing Ceramic Ware 64 Tie-Dyeing 56 Draping Methods of Sculpture 65 Applique 57 Sculpture 65 Netting and Macrame Knotting 57 Portrait in Clay 66 Rug Hooking 58 Mobile, Stabiles-Wire 66 Weaving 58 Sculptures 67 Ceramics 59 Plaster Sculpture 68 Design 59 Sand Casting 69 Hand Built Pottery 60 Casting 70 Wheel-Thrown Pottery 61 Glossary of Art Terms 71 Modeling 61 Recommended Teaching Aids 74 Introduction We emphasize the provision of creative art experiences and organizing them in a way that has meaning for for every student. This is basedon our belief in the him. These concepts, and this organization of them, unique quality of each .individual, his need for self- changes as he matures. His mind explores possibilities, fulfillment and the importance of his contributionto rejects some, accepts other, and finds new solutions the lives of others. as his work progresses. Certain expressive qualities of music, the dance and He feels an urge to establish order and begins to the language arts are shared by the visualarts. How- organize many random concepts toward the expression ever, creating in the visual arts'is unique since it is the of an idea. Growth in a student is evidenced by the only way in which a studentcan give tangible form to ability to organize his new responses to situations, to his experiences through the manipulation of various express these in forms that satisfy him, and to convey media. Moreover, expression in the visual arts is not his ideas to others as he paints, models, and constructs. hampered by limitations of languagenor by the lack At every stage of growth through art, a student affords of specialized skills associated with music, the dance us an insight into his world of experiences. or creative writing. Another very important aspect of . Art experiences, particularly at the early age levels, the visual arts is that the rinds which createan object afford a freedom of expression not commonly associ- can feed it, hold it, and experience it again and again ated with other areas of learning. Art, for example, as a source of satisfaction and beauty. In a world of carmen be evaluated in the way that arithmetic, spell- mechanical wonder the hand-made object becomesa ing, or science are evaluated. A student's creation can prized possession. be judged only in terms of his own intent and his own Although the opportunity to give form to experience ability to achieve that intent.In approaching the is important for the average student, it is particularly judgment of students' work in this light, we can foster importar.t for the non-verbal student and for those who in them the confidence and freedom which, in turn are verbally gifted. For the former, who cannot ade- will further their growth through art experience. quately express knowledge or feelings with words, it Pleasure and enjoyment are important ingredients in offers a way to break through and to communicate. the art experience. For the student, as for the mature For the verbally gifted student, who may tend to talk artist, the process of creating allows him to be com- about his experiences rather than become physically pletely himself, closest to his own desires and relatively involved in them, creating in the visual arts offers untouched by the conflicting and sometimes arbitrary other methods cf self-expression. demands of the outside world.In working out his In the visual arts a student is confronted with the feelings in h:s own way, he experiences the pleasures need for self-direction as he searches among many of self-realization known to artisr:s in all fields of possibilities for the best way to express his on ideas. endeavor. A very young student. usually makes spontanentis and Art contributes directly to various areas of school direct art statements about what he knows and feels. work. It is a broad field which cuts across all subject As he matures, his work becomes more complex. matter and which can be used to motivate children Through art. his active curiosity and sense of new- in other work. It can enrich a learning situation anti ness. adventure, and play can be encovraged. Oppor- make it more vivid and memorable. Art can also tunities arise to develop his ability to experiment, to used to unite ideas and show relationships which observe, to plan, to select those means and materials ?night otherwise remain remote and theoretical to the which best express a particular idea. Through art, students can become aware that they have many student. However, in these related roles, art must not special things to say and can develop confidence in herrn de to lose its creative character. their ability to say them. The art program must provide truly creative ex- As a growing student seeks to cope with the world periences and the student must be seen in many situa- about him, to explore it. and to find his place in it, tions to realize the full and unique contribution of the the visual arts provide a means of forming concepts visual arts to the educative process. COPYMAO Philosophy SESI

An art program should fill the general educational student develop good taste in selectu .g not only worLs needs of all students and integrate more specific sub- of art but also consumer products. The student should jects into the harmony with each other and with art benefit from art in his effective use of leisure time and itself. Creative expression is vital to the development should be encouraged to develop his talents to the ut- of each individual student and should provide oppor- most. While skills and technique are necessary to real tunity for self-improvement and a growing interest satisfaction, tne experiences must be kept within the in the student's surroundings. This can be done only student's ability. Art Education will offer therapeutic by thinking through exploration and experimentation. benefits to many and most important, will lead the This sensitivity to all living experiences can help the way to self-expression and freedom in thought.

The Art Program

BUILDSthe concept that art is seeing, touching, HELPSthe child to understand that good design experimenting, exploring, choosing, expressing, ap- enhances the economic as well as the aesthetic value preciating, and enriching. of any object. GUIDESand encourages the child to fulfill his de- PROMOTESdesirable workshop attitudes and gives sire for self-expression by developing his creative training in the selection, preparation, and care of abilities. tools, materials, and facilities. DEVELOPSthe child's ability to select, to arrange, PROVIDESample opportunity for all children to or to make objects more attractive for use, and experience working with many materials including stimulates him to improve that which is unattrac- those which are native to their community. tive in his environment. AIDSthe child in developing interests and skills STRENGTHENSgroup relationships through shar- which lead to the enrichment of leisure time activ- ing ideas in individual and group projects. ities.

The Role of the Administrator Teachers, because of their responsible positions, are ment for a well organized art program with a wide constantly looking to their administrators for leader- range of activities. ship in visit the art classes often. Curriculum Development for provide funds for books and magazines for the professional library used by the faculty. give impetus to a program of curriculum revision read the material in order to prepare himself for and development that meets the needs of tie constant leadership in encouraging and aiding his faculty in growth in art activities necessary to keep pace with their efforts to provide the creative experiences in art. the total learning process and the normal growth in encourage the continuing study and evaluation, by children. his faculty, of the opportunities they are providing Improvement of the Teaching Process to: their students in the arts. act as a resource person. exhibit an interest in the work of his art teachers, plan meetings for teachers and supervisors. compliment their efforts when due, and share their provide in-service improvement opportunities. problems in a cooperative way. consistently help each teacher develop a feeling of encourage the use and purchase of prints, repro- profession& dignity and importance. ductions, films, and slides of art works. aid supervisors and teachers in evaluating the art make every effort to send art supervisors and teach- program. ers, with financial aid from the school, to conventions encourage tho idea that the arts are a necessary and workshops. part of the curriculum. if possible, attend such meetings and workshops become acquainted with the whole art program. himself. help teachers and supervisors plan and implement .* encourage his teachers to join and be active in an effective schedule. professionalart education organizations.( KA EA, provide adequate art supplies, space and equip- NAEA )

3 BUT COPY MAILABLE The Role of the Teacher The role of the teacher in the art program is to show the ways of handling tools ..nd materialsmost make the childaware that seeking is learning, that effectively. a large part of growth in art depends upon the ability help the child evaluate and appreciatehis own ef- of the individual childto enjoy looking at his environ- forts. ment from various points of view. develop an appreciation for the universalityof art. win the child's confidence andrespect. foster within the childa love for doing." create an atmosphere in which the childcan be make use of numerous opportunitiesto integrate happy as he grows and works. and use art as a part of school and communityactivi- make many tools and materials availableso that ties. there is an opportunity for choice whenexpressing ideas. a look at the supervisor for help and guidance, but make effective use of instructional aids. direct the art activities of the pupils in the classroom. help the child develop confidencein himself. see that materials are properly distributed before encourage individuality in expression. the art lesson, and the classroom is left clean and help the child to recall and clarifyexperiences in orderly after the art period. order to assist him in organizing his ideas. keep a portfolio of samplings of each child's work introduce, wAtn the child's understanding,the art to evaluate programs. elements and principles of organizationto help him express personal enthusiasm and maintain profes- become aware ofrt terminology. sional alertness.

The Role of the Parent The art teacher should inform parents of the roleof space for work in the home; do not give him coloring art in the school curriculum. Parentscan more suc- books. cessfully contribute to the total education of their arrange for family art exhibits in a gallery spot at children when they understand theimportance of art home through which appreciative attitudes and values in everyday living. may be gained. Parents can help their child grow through artex- ask the child to tell you about his art work; do not periences when they: criticize unfavorably; try to understand the child's art. recognize that art is a vital part of everyyoung participate in art activities with the child and enjoy child's play and learning experience. it with him; allow the child to express hisown ideas; study child development in art and gainsome un-* art is individual. derstanding of what children do with art. help estut'lish good craftsmanship. respect child art, however crude it may seem, asa natural means of communication. note the sincerity and freedom with which a child encourage the child to express himself at his level expresses himself when he is working in an atmosphere of ability and not with reference to adult standards. of understanding. realize that experiences with an materialsare es- see and help your child to see the interesting and sential for creative learning to all boys and girls. unusual things in nature. take the responsibility for arranging time and for help the child to develop an awareness of the de- providing the child with needed tools, materials, and sign quality in things used every day.

School-Community Relationships As a teacher one of the important duties is to interpret ing them with coloring books, patterns, paint-by- the children's school art program to the parents. Op- number sets, and how-to-do-it kits. portunities for this are provided through open house Children's Art Should Be Seen: displays and discussions with parents, through P. T. A. in the classrooms, balls, principal's office, teachers' meetings, through the use of art education films, lounge, and lunchroom. through conferences and meetings, and through indi- in public buildings, museums, libraries, community vidual folders of children s work which show progress. centers. Parents should he very much interested in guiding in store windows. children to observe, think, experiment, and work at outdoor exhibits. creatively with art media at home rather than provid- in homes.

4 BEST COPYAVAILABLE The Community Engages in An Activities Through: The Community Provides Resources Through; adult art education workshops, lectures, films,dem- summer and after-school programs. onstrations. TV art programs. persons with special art abilities. classes where children and parents work together. museums, schools, parks. art publications. colleges and universities. community art groups.

Art As Creative Education

Art is a way of enriching life. With understanding ties.Art is a way of doing and can be correlated guidance, it can bean important educational tool in with all the other areas of learning suchas social developing the whole personality. Therefore, the art studies, literature, science, mathematics, shop, home- program should reach all students, not Just the talented few. It must be a vital part of the curriculum inevery making, music, agriculture, dramatics, physical edu- school. cation, health, foreign languages, and social ctivities. rt education can discover, challenge, and develop Art can enhance tEe beauty of classrooms, buildings, tal anted students and provide for leisure time activi- and homes.

General and Educational Objectives

The outstanding function ofa program of art educa- Offer activities which develop understanding of the tion for all young people must be to assist them to characteristics of many materials by exploration. arrive at a well-balanced creative, intellectual, physi- Develop learning and techniquesnecessary for cre- cal, moral, spiritual, emotional, and social maturity. ative growth and personal expression. In order to achieve this end, the art program should Develop pride in craftsmanship. function as follows: Encourage good work habits and respect for mate- Proviele opportunities for building spiritual values rials and tools. by fostering artistic development. Develop self-confidence and satisfaction in accom- Encourage creativity by providing opportunities to plishment and in the production of original ideas. express and create. Develop individual initiative as well as group re- Develop greater powers of detailed observation and sponsibility. visual judgment. Provide opportunities for more specialized instruc- Help pupils to develop self-awareness, self-direction in the field of art as the student mates as. tion, self-confidence, and a sense of responsibility. Provide advanced art education for those with un- Ile 1p all pupils to achieve their highest potential. usual ability. Develop and enrich the personality of students Deepen understanding of the vocational and avoca- through a variety of creative experiences. tional value of art. Increase critical judgment for selections of the fine Encourage pupils to visualize ideas, thoughts, and art and industrial art products to be used in daily feelings in original expressions. living. Help pupils increase the uset of imagination and Develop responsibility to self, home, school, and resourceful thinking in solving art problems. community. Provide for pupil growth by encouraging experi- Develop appreciation for the heritage of fine art mentation, creativity, and evaluation of his progress. and all eras of history.

Goals for Art Education

To develop a sensitivity to and an appreciation of To promote growth in knowledge, insights, con- art, man's highest form of expressi m and communica- cepts, and outlooks through the encouragement of tion. original thinking, creative expression, good work hab- To promote maximum self-realization of the student its and the understanding of materials, media, and through a variety of creative experiences. techniques.

5 BEST COPY111/1111,111111 To encourage a respect for the work of others. in the choosing of a vocation and to develop satisfying To develop character through cooperation and re- avocational interests for others. - To develop an awareness of good design and crafts- sponsibility in group activities, manship in order to prepare the student for his future To seek out the talented and provide counseling role as a consumer.

Purposes of Art Education The Aims of Art Education growth and changes in a student's behavior are the Education in art should be directed toward each stu- most important and are indicated by the product of his dent as an individual.It should integrate the other hands and mind. His work should grow out of his more specific subjects into an increased harmonization mind and soul. The foundation of art experiences with each other and with art itself.Art education laid in the elementary level is of great importance should have opportunities for self-identification, self- in developing a lasting experience. improvement, and a sharpening interest in the stu- The ability to draw is not essential for the ele- dent's surroundings. A further aim of art education mentary teacher in the development of an art pro- is to encourage creative thinking through exploration gram. The most ,mportant is his ability to inspire and and experimentation and to increase art knowledge stimulate the studerts and to evaluate their art work and skills. Art training should increase sensitivity to in terms of their creative growth. all living experiences and hAp the student develop good taste in selecting consumer products as well as Purpose of Art for Secondary Education works of art. The student should benefit from art in In the secondary level, the art program is needed to his effective use of leisure time era' should be en- insure ..naximum growth and development of the stu- couraged to develop h.., talents to the utmost.Art dent.It must be there to complete the tasks begun education will offer therapeutic benefits to many, and in junior high, for this is when the individual is be- most important, will lead the way toward self-expres- ginning to mature. Art education will provide guid- sion and freedom in thought. ance for the future and foster active community inter- Purpose in Arts in Elementary Education est and participation.Its purpose is to provide for The student should be helped to usea l in all its forms an environment that will stimulate the integration of and to identify himself with his art everiences. A art; enthusiasm for worth leisure time; and provide well organized art program provides for a wide range motivation for the application of techniques and proc- of activities that will be adequate to the child's needs esses. Through art, the student will have reached a and interests. Activities should be considered in rela- better understanding of society and have increased tion to the whole learning program of the student. The his interests in the pleasures of life.

Phases of Child Growth The child makes pictures as naturally as he walks. taking him to see interesting things, reading stories Probably you noticed that even before the child and poems to him, and having music on records which learned to walk he was exploring space with his he can enjoy. arms and legs. Around the age of two the child will Young children de not see depth and distance. be grasping any object within reach and begin his Often a primary school child will draw a picture of scribblinga series of unorganized lines rm the floor "My House" by showing the family living room. The or wall. Thanksgiving table is laid flat as if the young artist Continue.1 development of the child will show some saw it as he dangles from a chandelier. A football organization of his scribbling and then the use of sym- field is flattened. To an adult a would appear that bols to express ideas. A line circle becomes a head, the goal posts and players were lying instead of stand- under is the body, legs and feettwo straight lines. ing. This is normal and usual. The child can picture only what he has experienced The teacher can aid the child in his development. although this experience may be just in the child's You cannot force or hasten. You can encourage by imagination. People, rhther than things are pictured. providing space and materials for the child's use. 'eldom does a child paint until both his thinking and You can show interest and appreciation of the child's feelings have been s' ..nulated.You, offer this stium- efforts. You can refrain from comments such as: "But latie:i discussing with your child his experiences, you can't make a horse." **That doesn't look like a

6 BEST COPY IIIMILA.BLE soldier," "Let me show you how it should look." It has been found that some children pass rapidly Rather say: "Do you want to tell me about your from stage to stage while others have periods of little painting?" "I like that," "What lovely colors you have or no apparent progress. made." Stage 1Manipulative and Exploratory. Research studies of children's art work have shown Stage2Intuitive Design, Circular Configuration. that there are stages of growth and development through which children pass.The art program is Stage3Conscious Design, Deliberate Design. based on the finding that children learn best by ex- Stage4Planning and Organizing, Preplanned De- perimenting with materials and that children gain sign. the confidence to think, feel, and express themselves Stage5Expressing Near and Far. Modified Design. when they are given time to work at their own pace Stage6increased Realis m, Expressive Design, and in their current developmental stage. Craftsmanship, Ingenuity, Dramatic Simplicity.

Kindergarten ArtCharacteristics The role of the kindergarten teacher in regard to art is primarily to provide the child with appropriate materials, and uninterrupted time for an aesthetic experience. Tin' teacher should have no preconceived no- tions about what the child should accomplish. but should accept his work without asking for an interpretation. Due to the varied background and experience of children entering kindergarten many stages of development will be observed among children of approximately the same chronological age.Children who have never had any art experiences may exhibitvery early stages of development. Itis important to let the child work at his own love of accomplishment.For this reason the art characteristics of pre-school childrenare given here. Art Characteristics: Age 2- 4 Childlakes random marks on paper in effort to gain cont?1 of tool. He atter ,pts to pile blocks. He squeezes and punches plastic materials. He is not trying to draw. tn:Klel. or build objects; the expel ience is purely kinesthetic.

Art Characteristics: Age 4- Ideas Are expressed 1w symbolic lines and shapes. Shapes become more controlled andas the child ad- vances, he can reproduce shapes at will. Detail develops gradually. Usually only parts important to the expressionare used.( If legs are not important, they may not appear on the figure. ) There is ft-many no relationship of color to object. Color is emotional.

Art Characteristics: Age 8- 9 The child expresses what he knows. not what he sees. He divides his paper into three areasa ground (sometims called base line). air, and sky. Bar COPYAVAILABLE He often exaggerates the things thatare important to him. He has discovered the relationship between color and objects. He may show episodes occurring at different times in the same picture. He may draw pictures from both sides of a centeror all around a center. He may make X-ray pictures.( X-ray picture is a name for another interesting non-visual way of drawing to show different views that could not possibly be seen simultaneously. He depicts the inside and outside together whenever, for the child, the inside is emotionally of more significance than the outside. Frequently, both are used according to how much meaning either the outside or inside has for the child. ) k Art Characteristics: Age 10- 11 His awareness of color is more acute; he is more color conscious. He uses color more realistically. He becomes self-critical. His figures may become still with great emphasis on detail. His ideas come from real life experiences, from flight He may leave out people because they are "too hard of fancy, the world around him, imagination, and to draw." television. He may copy from others because of insecure feelings. He may overlap objects in his pictures. He often desires to label objects and give words to There is some continued use of exaggeration of im- people and objects. portant parts.

Junior High Art

The junior high school student is at a traditional stage in his development. He becomes increasingly more aware of adult standards and grows more critical of his work. For this reason it is very important that art experiences be enjoyable, useful, and challenging. 4" This should be a period of exploration and discoVery. 4 In this guide we have included many processes and materials for exploration to meet the varying needs and interests of children from ages 12 to li.It is not expected that the teacher will have time to introduce students to all of the activities. !lather, this should be left to the discretion of the individual teacher. He or she should strive for a good balance between various two- and three-dimensional problems as well as art appreciation experiences. All learning in art and crafts should contribute to ngi growth of the child's knowledge and of his ability to use the elements of art and the basic principles of composition. 8 -- .r

BEST COPYAMIABLE Goals for the Junior High Art Program The student's appreciation of the relationship between art at d daily living. An opportunityfor the child to express himself cre- 4 CO' atively and grow through a variety of experiences. rt ' ot,'" Help the child withthe form and function of tools and 4 materials and standards of good design and craftsmanship. An appreciationof art of the past and present as a form of communication. Art withall other areas of the curriculum. Independentthinking and flexibility in problem solv- 7:7.[^81114b ing. '4. Developthe student's awareness to the possibilities of N., a rewarding hobby or career in the art field. Cooperationin group activities and respect for the work of others. The experienceof working with a variety of materials, tools, and equipment which may later lead to a vocation, a rewarding hobby, or good use of leisure time. REQUIREMENTS An opportunity to study the possibilities and limita- Requires satisfaction of physical needs. tions of these materials, to design and execute aesthet- ically satisfying as well as useful objects. Needs to understand and gain control over environ- Participation in group activities, thus giving a sense ment ( role playing). of belonging and self-realization through achievement. Needs to become a social personality An appreciation of the role crafts has played in the Needs to develop and maintain ever widening and history of civilization, of the relationship of crafts to deepening intellectual and aestIrti.interests. industry. Needs to further the cultural value system. A respect for good craftsmanship, forms and designs Needs to engage in large group activities in orga- appropriate to the materials used, and functions for nization such as stage projects, puppets, decoration. which the objects are designed. Individual responsibility, good work habits, the care of tools and equipment.

Growth and Development: 12- 14 Years PflYSICAT.. GROWTH Has periods of rapid physical growth characterized by periods of sluggishness and lack of skills; applies enormous expenditures of energy in daily tasks. BEI I AV I 011 PATTI ?RNS Is mainly concerned with the "peer" group and achieving status within his environment. Is responsive to worthwhile tasks. Desires attention. Has frequent "crushes." flas a tendency to deny interest in things and people he likes. CHAllACTEIIISTICS OF WORK Al'-nal SO. Is able to do progressively intricate work. Is very much interested in material things. -..d11111..... Is very realistic in his work. Is at times carcicssat times meticulous. Makes work to he "kept.'

_..g --- Senior High Art tort000 The art program in the senior high school isan exten- sislc sion of junior high school learning experiences, but with significant changes in emphasis. The workat this level is more technical and advanced, it involvesmore processes and should offer increasing challenges to the students' abilities with special interests being developed more fully. The art curriculum must meet the needs of individuals whose goals in lifevary greatly. It must meet the particular needs of those preparing for college, those terminating their formal education with high school and those electing courses for thepurpose of making further educational and vocational choices. A significant degree of creative independence and originality should he expected fromevery individual who faces this program.

Goals for the Senior High Art Program A sensitivity to and an appreciation of art. The importance of creativity, originality, thoughtful Has a wide range of physical development at this planning, simpliity, sensitive execution, depth, force, age. variety. and respect for craftsmanship. Is self-conscious about his physical appearance. A knowledge of the elements of design and the prin- Has emotions that may be very intense. ciples of composition. Growth of character of the individual by encouraging BEHAVIOR PATTERNS him to follow allprojects through to satisfactory Is prone to hero worship. completion. !bolds material things as symbols of success. A respect for the work of others. Tends to censor his actions according to the conven- ti.ms of the society in which he lives. To provith, recommendations in the choosing ofa vocation. Is very sensitive to criticism. The appreciation for art during that stage of develop- EN luates himself more critically. Rejects authorityconflict with parents and teachers ment when many young adults are undergoing stresses and changes. who treat him as a child. Respect for good craftsmanship. CHARACTERISTICS OF WORK Appreciation of art forms and a growing sensitivity for Tends to be more illustrative in drawing and paint- design and good taste. ing. Develop techniques and increase skills. Demonstrates more ability to interpret art in a more Appreciation for the history of different craftstheir abstract manner. value to the growth of civilization and their relation- Shows more specialized interestscrafts, painting, ship to contemporary living. commercial. *nderstatuling of crafts as it applies to industry. Increased in skill and ability to concentrate on work. Honest creative effort in designing a useful or decora- Is more likely to have a vocational interest in art. tive object and developing it to its conclusion. R EQUI E ENTS individual responsibility anti leadership. Needs personal economic security. Working with various materials, to explore their possi- Needs to experience success and seeks areas in bilities and their limitations. which he can achieve recognition. Individuality in an age of conformity and regimenta- Needs specific training and techniques. tion. Will nerd special considerations depending !upon Profitable and intelligent use of leisure time. his needs. Needs to be given the opportunity and sufficient Growth and Development: 15- 18 Years time to practice in order to develop skills. Pi 1 YMCA!. GROWTH Needs to he guided in developing techniques of Continues to grow and takes on appearance of a evaluation and to be helped to appreciate the work mature individual. of others.

10 Suggestions for the Use of thisGuideBEST COPYAvARABLE

This curriculum guide contains suggested lessons, It is believed the course should be given in aman- processes, and materials which the writers feel are ner which will foster structural thinking. The experi- basic to any program for art and crafts. The teacher ences are planned to give the student an opportunity who uses this guide should not be limited by itscon- to seek his own answers, and to develop creative tents but should use it as a point of departure. initiative. It is hoped that teachers will use the art and crafts The basic course should give a foundation for build- sections interchangeably since art and craftsare so ing further art experiences and for introducing special- closely interrelated. The boundaries between elemen- ized skills. The student can more intelligently choose tary and junior high, junior high and senior high specialized courses if those subject areasare briefly school need not be considered hard and fast divisions. discussed thus offering the student direction,purpose, The units included are applicable to each grade and goal. level or individual. But the degree of pursuit and exposure should be increased in proportion to the A Theory of Color ability and maturity of the individual student and the Color may be regarded by the student as something class. which is restricted solely to the art class. Thiscon-

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When truly presented, art awakens awareness in the cept should be broadened so as to include color as student of his creative ability. He finds satisfaction part of his daily experience. Color surrounds him; yet throughart experiences and develops confidence he may have lost the uninhibited joy of color sensa- through this self-expression. Thiscourse should pro- tion he possessed as a young child.The teacher vide a basis for an understanding of the arts for the should strive to reawaken an appreciation of color student who plans to take only one art course, andan by presenting it as a force acting upon him and his adequate background for the student who will take environment. further courses in art. Scientists have shown, through experimentation with This study should proceed from an awareness of plants under filtered light.that color affects vital those factors underlying creative art and their appar- growth. The invisible portion of the spectruminfra ency in all the arts and crafts. Enjoyment of beauty red and ultra violetis widely used by scientists and in nature and art should be promoted through experi- physicians in maintaining and restoring health. The ence with fundamentals to develop a broad and lasting therapeutic value of color is recognized by thepsy- appreciation. The difference between true art quality chiatrist.It becomes an instrument through which and superficial effect is important to the student as a he can diagnose conflict in the emotionally disturbed. consumer. Practical help in developing taste and a The commercial world is fully aware of coloras a contemporary viewpoint of design for daily living means of making products attractive and color has should be offered. been an eloquent salesman in magazines, outdoor bul- BEST COPY AVAILABLE letin, and displays. The student willbe taking his ual directing the growth and planning of his city. The place in the communityas a consumer of manufac- teacher .vill realize the opportunity for helping the tured products, asa home owner, and as an individ- student develop attitudes and taste concerning coli,

REFERENCES: The Enjoyment and Use of Color. Walter Sargent I. COLOR

Color and Colors, . Matthew Luc ldesh A. Color as a property of light. I. ObjectiveTo explain that lightwaves determine the colors we see, and that the colors of objects exist only inour consciousness. MEDIA 2. MethodUse demonstration, lecture, discussiontogether with any practical White paper application which can be carried out with available material Prism and equipment. a. Show that light is polychromatic by refracting and dispersing it througha prism: (Violet, blue, green, yellow,orange, red.) Other natural examples: rain- NOTE TO 213: bow, oil on water, soap bubbles, etc. An example would he to recall b. Explain that sub-atomic vibrations produce the experience of seeing iron electro-magnetic waves that are heated. Heat causes the mole- of different length and frequency. The length of thesewaves determines the.,- cules to vibrate which in turn color; I. e., the longest produces redthe shortest producesviolet. produces light waves that the c.Reflection and absorption determine the color of objects. eye receives as colorred, yellow, to white. ( 1) Color of opaque objects dependsupon both the color reflected frorn the object, and the color of light that fallsupon the object. ( 2) Color of transparent objects dependsupon the color of the waves which NOTE to c(): pass through them. Ordinary window glass transmits all colors and is said to Show the effect of this factor be colorless, while colored glass absorbs all colors andtransmits its own color. on display work where colored light can distort the appearance d. The primary colors of lightare red, green, and violet blue.(These three ofproducts. Where colored colors are related to response factors in human vision which transformmixtures light affects mood. How it helps of wave lengths into mixtures of colors.)All possible colors produced through in merchandising and sales. the mixture of these primariesare yellow, red-blue, and blue-green.

The light theory has been introduced in this guide to explain the origin and perception of color. Presen- tation of the light and pigment theories can lead to confusion if one makes extensive comparisons between the two. It might he better ifone explains that we receive the sensation of color from pigments of the light color theory. The relationship between the two ,1 theories would he through the pigment primaries which are in reality the light complimentaries. The *I reason for this is explained by the following combina- p1;1114.1 .41 , ') !. _.,t) tions of light primaries: Red and green light produce the sensation of yellow; green and blue the sensation of blue-greert red and blue the sensation of bluish-red. It should be mentioned also that when the pigments are mixed, they produce the sensation of green. When pigments are mixed each one subtracts certain colors from white light with the resulting color dependent upon those waves not absorbed. The yellow pigment VIes %um subtracts certain colors from white light with the

141/10 resulting color dependent upon those waves not absorbed. The yellow pigment subtracts blue from white light; blue-green subtracts red from the white light. The sensation of green is produced because it is the only color not absorbed.

12 BEST COPYMOULABLE NOTE: B. The Pigment Theory Discuss the use of colored light 1. Objectiveto present primary (hue, value, intensity) and secondary (warm indisplay,stage,exhibitions, and cool, advancing-receding. etc.) characterizations of color as a basis for color etc.Explorationsofcolored light can be carried out with organization in painting in tie! use of colored gelatin ( used 2. MethodUse demonst ,lecture, discussion together with student appli- In stage work) and a slide pro - cation of material presented jector.Interesting "light paintings" can be made using a non- a. Primary ,2haracteristics of color. ()bivalve approat h to composi- I.Pigment primaries and lemon-yellow magenta, and cyanic. (The teacht r tion.The physics teacher might will find a need to adjust the pigments available to attain tl-iese hues.) be called upon for apparatus HUERefers to the chromatic quality by which we distinguish one color from an- and teaching aids used in his other, I. e.. red, blue, green, etc. To change a hue we mast mix another to it. Thus departmentto demonstrate our color wheel is expanded, color. VALVERefers to the relationship of it color to white and to black. i. e., dark red, light red. The %aloe of a hue may be altered through the mixture of black or vhite. A value scale may be constructed with nine value steps from white to black.!Ines, tints, and shad.s can be matched to this scale to show value as a color characteristic. INTENSITYRefers to the strength of a hue and is the opposite of grayms:,. The REFERENCES: intensity of a hue may be reduced through mixture with gray or with its emvpiemer! Art of Color and Design, Graves Maitland Principle of Art b. Demonstrate how mixtures of the primaries produce intermediate lulus which Appreciation, in turn produce variations. Use of poster color should lie explained and the Stephen Pepper method of achie ing smooth application by employing a wash technique. Thy Color Systems, student should prepare a number of hues and paint them on shapes of wl oiler, Mansell and Ostwald drawing paper to cut a uniform size (1" x 2" for example). Ten hues would cue sufficient for this exercise and would make a complete color wheel, compLEmENT IltIESAre those which appear opzvisite each other on the color NOTE: wheel and which produce a natural gray when mixed in the proper proportions. Afterdiscoveringthefactors contributingtocolor percep- e. Complementary hues can be shown to the student, using a color wheel, but tion, the student introduced to the after-image experiment has more lasting value. Experimentation in produc- a study of color using pigments. ing complements should be followed by their use in graying color. Show how The teacher is urged to present side-by-side complements enhance each other.Mention the value of grayed color and other areas of this complements to color organization. course simultaneously. The stu- TINTRefers to the mixture of white with a hue. In transparent water color a tint dent more readily grasps the would be produced by dilution of the color. theory of color, ifitis applied to practical situations. SHADERefers to the mixture of black to a hue which is either opaque or transparent. d. Colored examples should be prepared using the ten hues (see b) as a basis MEDIA: for mixture with white and black. Reference should be made to the gray scale Poster paint and to show that value is present in tint and shade. Whitt' paper e. Secondary characteristics of color (so termed because they are present only Brushes by the virtue of the existence of the hue.) Scissors Clue (1) Quality and vibrancy in color can he produced by a mingling of hues of nearly the same value and reflected from the same surface. A plain hue lacks interest. An area of blue may, on closer examination, contain greens, purples, violet-browns all mixed in the eye of the observer to produce a vibrant sensation NOTE: of blue. Knowledgeofcolormixture and matching can be gained (2) Warmth and coolness. through practice only.Work- Colors in the red, orange, yellow portion of the spectrum seem to convey ing on individual chips of pa- warmth, while the greens, blues, violets convey coolness.It can be used to per frees the student from fear evoke emotional effects for warm colors are associated with fire, comfort, friend- of having a complete color ex- ship, and love. Cool colors may be used to suggest solitude, loneliness, aloof- ercise to do over if a mistake ness, age, and death. is made. These examples are arranged to see the relationship (3) Advancing and receding color. of the Imes of the color wheel, Color exhibits spatial effects which the artist can use to his advantage. Cool lout do not paste to a back- colors retreat and warm colors advance, but the effect is not strong and may ground.'they may beused be upset by other spatial hues in drawing. Dark hues sometimes exhibit later in othe- color experiments. characteristics of sinking into the picture plane. The spatial effect of color is The student can arrange the strenythened through saturated color. color maniples on a black paper backgrimml in warm and ccml (4) Weight. groups.The spatialeffect of Dark colors appear to he heavier in color usage. This can be employed to color caninobserved at the advantage in color balance. Delicacy can he shown with tints and light hues; saw time. strength can he shown with shades and dark hues. --13 BEST COPYAVAILABLE NOTE: C. Harmony Demonstratingtheeffectof 1. Objectiveto present after-image is an exciting way some established methods for finding color harmony. to introduce the complementary 2. MethodHarmonies can be explained to the studentas cousisting of hues in colors.Place any hue on a varying combinations which produce a unified whole. The color harmovies should white background am! stare in- not be prepared for their own sake, but should be part ofa painting problem tently at it for 30 seconds. Re- dealing with one of the areas of thiscourse. If we are to teach students to work move the hue example and creatively, then we must foster individual solutionsto color harmony. stare at the blank white paper. The complement will appear in a.Complementary harmony is made up of directly opposite hueson the color the place previously occupied wheel. by the hue example. ( 1) Split complementary harmony is made witha hue, plus the colors on each side of its complement. b. Analogous harmony is madeup of hues adjacent to each other on the color wheel. ( 1) Split analogous harmony is made by skippingone of the adjacent hues and using the next. Two adjacent colors may be too close to be appreciated. c.Triadic harmony is made kr. combining three hues equally spacedon the color wheel. d. Monochromatic harmony is made withone hue and one or more of its tints or shades. The student now has a knowledge of color which needs (Ply to be applied to develop sensitivity and taste. Everyone has a feeling of col 1% but mistrusts it when called upon to use it. The student's contact with color in 'Wonders of the Arts" did a great deal toward re-awakening thy. joy in using color. Free experimentation with valor mingling, etc., is important in developing a creative atti'v le toward this subject.

11. LIGHT AND SHADE A. The illusion of volume ( three-dimensional form) 1. ObjectiveTo clem:mstrate the effectiveness of light and shade to createa orrasoarm.... three-dimensional effect. 2. MethodCrumple a sheet of newsprint (12" x 18") and then open and partly flatten the sheet. Spray the paper "from one direction, using a spray gun, a fixative sprikyer, and diluted poster paint. The paint will hit only the planes facing the spray. When the paper is completely flattened out the illusion of jagged and raised sections will he highly realistic. This sirr,:rle experiment will demonstrate planes of different value, emphasized edges. and gradation. B. Volume expressed through light and shade. 1. ObjectiveTo learn to define volume through light and shade. 2. MethodHave the student draw simple obieets using the sick of the lithographic crayon. The edge of the object is defined by the broad stroke of the crayon which creates the effect of shade. The "light" edge of the object can be suggested by oarkening the background and producing a contour through contact with adjacent areas. C. Distinguish planes through light and shade. NOTE: 1. ObjectiveTo see an object bounded by planes whose surfaces reflect dif- The problem of light and shade fering quantities of light. lends itself to integration with the entire course.Washes of 2. MethodThe student should draw a cube using three different values to transparent water color could separate the planes. The cube should be related to a picture plane of a particular be floated over the drawings. value. Definite value separation of the surfaces of the cube will create a solid Advancing-receding color could three-dimensional effect. lend emphasis to the spatial I).Emphasizing edges of planes. effect. 1. ObjectiveTo heighten the effect of volume through a dramatization of the edges. 2. MethodThe student should use a subject which his interest suggests. Indi- cate the object lightly with the side of the lithographic crayon. After value relationships are decided upon, emphasis is placed on edges or corners, or curved surfaces. The method is to contrast light against dark and dark against light. A great deal of solidity can be obtained with this technique. 14 -- BEST COPY AVAILABLE MEDIA: III. FIGURE. DRAWING AND PORTRAITURE Newsprint Drawing paper A. A variety of approaches. Pens I. ObjectiveTo continue the exploratory approach to constructing the figureto Ink enable the qudent to "discover" a method with which he hassuccess, Chalk Water color 2. MethodSuggest a series of rapid techniques for recording the figure. Em- Poster color ploy a variety of materials allowing the student to discover hisown methods of combination. Suggestions: (a) "meandering line" seeking to buildup mass and contour. Ink or pencil could be used, together with a wash of water color, (b) colored mass of rubbed chalkchalk dust applied with felt pad and ink brush line,(c) :;haded areas brushed in directly with poster colors and light" areas detailed with line. This.type of approach maintains student interest through variety of technique and media. These drawings should be direct and rapid to develop the student's confidence in his judgment of employing line andmass to express form. These drawings may be timed if the teacher feels it would be helpful.

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B. Figure Study 1. ObjectiveTo gain exact information and to develop skill in drawing the human figure. 2. MethodDemonstrate to the student a logical approach to blocking out the figure with emphasis on proportion and balance. Using the headas a basic unit of measurement, the student can control proportion. Information on proportion of the figure for drawing for specialized fields should he mentioned at this point. The student needs help in simplification of his drawing and in developing the MEDIA: large masses of his drawing before attempting detail.Simplified methods of Newsprint drawing the features of the head and hands would be helpful. Charcoal C. Figure Composition NOTE: 1. ObjectiveTo compose figures singularly and in groups relating them to space. Up to this point the figure has been presented through explor- 2.Method- -have the student compose groups from the sketches made for figure atory drawings.It may be ben- study (See. The poses might be slightly altered so the figures will not have a eficial, at this point, to have the "labored" appearance, which often results from redrawing a figure. The appli- student work on figure draw- cation of perspective to figures and surrounding objects will give a unified effect. ings which require close obser- Figures sometimes appear "floating" or "passing through" solid objects. or "standing vation and sustained effort. in a pit." A diagram (a) of objects and figures showing the position they occupy on the ground may help to clarify the fault of not allowing enough space for each object (passing through solid objects). A second diagram (I,) employing a groom, plane and converging lines will clarify the incorrect reference to the ground plane. ( Also see Sec. IV, E., Freehand Drawing.) Figure drawing is a rich field for creative self-xpression for the adolescent. Portraiture and figure drawing is especially meaningful to this age level, and it becomes a means for the student to integrate art and environment.Expressing, ii.vestigating, interpretating environment anti developing wholesome attitudes towa become.: a worthwhil social goal. The student's interest in figore drawing can be easily destroyed by an approach which stresses professional standards. 15 Suggested Problems tisri I. COLOR $110 A. introduction of coloras a means of student exploration of materials. 1. ObjectiveThrough manyprocesses the student becomes aware of color relationships, techniques, and combinations of media. MEDIA: 2. MethodUsing newsprint or drawingpaper, have the student mark off 4" Drawing paper squares. inside this area color is applied, using a wide variety of applications. Water color Show that color can be applied using tools rather than the brush; for example, Crayon sponge, cloth, and sprayer. Mingling, gradation, dry-brush, and floatation of Poster paint color are expressive means of using watercolor. After student has begun this Ink experimental approach, his interest willcarry hint into many experiments on his Pens own initiative. Cloth A two inch square cut from a piece of papercan serve as a "selector" which is used to find the best section of the four inch paintedarea. This section is cut out and can he mounted on drawing paper to forma visual vocabulary. The arrange- NOTE: ment of the chart can be a problem in design. The student's introductory experiences are in color because It Color Painting ofthe immediate interestit 1. ObjectiveTo become aware of the emotional expressiveness of color. stimulates.Manipulative tech- 2. MethodA logical outgrowth of color experimentation isa non-objective nique .jermits the student to approach to painting. work at his own level. a. Mixed media is successful for this type of work. Suggest to the student to work without a preconceived design, and withouta representational aim. Work- ing quickly is most successful, putting down colors as they seem to relate to each REFERENCES: other. The student still discovers that he is making decisions concerning color Exploring Art, and shape which are dependent upon his own artistic judgment. Shape of the Kains and Riley color areas is inevitable and design enters into the painting with the first stroke Art Activities, of color. It is suggested that the teacher guide the studentaway from unde'irable Wickiser symmetrical patterns. A period of student evaluation should follow these free New Art Education, exercises, and each individual can share his "findings" with the class.Most Pearson students enjoy group activities, and this sharing of ideascan become a means of integrating art and social experiences.

NOTE: b. The paintings should be developed into designed color shapes.Painting directly, making adjustments as the work progresses, allows fora more "painterly Music has been used success- approach than "filling between lines" of a penciled layout. The student will fully with this type of painting need help in seeing the elements of painting in their relationshipfor example, The teacher may wish to have achieving balance, contrast, and harmony. the studentinterpret musical compositions. c.Discuss and explore color as a means of consciously expressing a mood,or symbolizing an idea. A variety of materials lend themselves to these colorex- periences. Printing inks may be used to achieve rich tonal effects. MEDIA: d.Printer's ink can be applied by rolling the brayer on the inked glass slab,or Newsprint by putting the ink directly on to the brayer. A variety of textural effectsare possi- Printer's ink ble using both methods in combination. Brayer Transparency of some printing inks is especially appealing and shows the Class slab effectiveness of this quality in achieving spatial effects. Masks can be used to Turpentine enrich the design by holding back ink from some areas, or allowing it to pass Spatula through, as the desired effect might require. Rags Monotype printing could grow from this approach if the teacher felt it would he profitable for the student at this time. Monotypes can he made as follows: Apply printer's ink to a glass slab using a brayer to distribute the ink in an even REFERENCES: layer. The format of the design is limited by paper strips which block-out un- Design wanted inked areas on the edge of the glass slab. The inked area inside of the Sybil Emerson paper strips can be treated in a variety of ways to produce the design. (Complete description Drawing, scratching, combing of the inked surface, lifting out areas with paper of monotype process) patterns may be employed by the student. Experiment. Place a sheet of thin paper over a design and rub evenly with a smooth, flat surface to make the print. The paper is then peeled carefully from the glass, and the print is allowed to dry.

Factual information regarding color theory can be introduced as the need arises. The stud,.nt should know the primary characteristics of colorhe, value, intensity. Class discussion and demonstration may be used to introduce color temperature, weight, spatial effect and other secondary color characteristics. Recognition of these characteristics in art and nature and correct use of terminology may bey sufficient in the introductory course.

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A concentrated study of color will be presented to the student inAdvanced Draw- ing and Painting after he has a background of drawing and using color. The intention ofWondersof the Arts is to give the student a variety of introductory experiences, and time may not permit a more detailed study of this subject. How- ever, the needs and interests of the student will determine the time spent on any one area. The effect of color on our lives and its function in meeting the needs of daily living should be the keynote.

11. DESIGN The exploration of color shapes leads the student toan awareness of design. His knowledge of design should includean understanding of its usage. Thus principles as outlined in this section should includea consideration of the articles of daily living, of dress, and. of the home,as well as the "fine arts." A. Design Elements REFERENCE: Art of Color and Design, 1. ObjectiveTo acquaint the student with design elements and their charac- Maitland Craves teristics. Color, Form,and Space, 2. MethodIt is suggested that the teacher discuss design elementsas they Faber Birren exist in nature and man-made objects. Point out, for example, the graceful line Creative Color, revealed in a blade of grass may also be found ina Japanese brush drawing or Faber Rirren a ceramic howl. Sight and Insight, Alexander Eliot a. Linedefined as movementactual or impliedas its basic quality. Discuss The Mixing of Colors empathythe bodily projection of bodily movement to objectsas strengthening and Paints, perception and enjoyment of line. Vanderwalker ( 1 ) Experimentation to produce types of line. (a) Implied line ( an imaginary line formedas the eye connects similar points), dotted line, line termini, closure. MEDIA: (h) Adjacent color areas. Depends on problems chosen (c) Draftsman line (weight, length, direction). (2) Line used to convey emotion. (3) Character of line. REFERENCE: (a) Ruled linecold, unyielding; freehand lineconfident, timid.Simple Principles of Art compositions can be devised to illustrate the varied character of line. An acci- Appreciation, dental figure created by dropping damp stringcan be expressed in a freehand Pepper line. Felt brushes ( or Flomaster pens)can he met' to connect points located at random. Dripping color creates varied accentuated line. Line arrangements could be used to teach two-dimensionalspace division. NOTE: h. Shapedefined as the contour andmass of an object explessed through Color us an element of design draftsman's line or adjacent color ( value) areas. has been presented in Advanced Freehand Drawing. Sec. 1 (1) Two-dimensional arrangements of line, mass, and colorcan be drawn in chalk.Experimentation with geometric and free shapes show the endless variations that can he invented. REFERENCE: (2) Demonstrate the relationship of positive and negative. space through arrangements of free forms. The New Vision, Moholy-Nagy c. Texturedefined as an object's surface appearance resulting from its structure of from a change due to nature or machine. The student should be shown examples of natural and man-made texture. Tactile charts of contrasting textures (cloth, sandpaper. wire-screen, etc.) can he arranged to makea collage. NOTE: (1) Texture created through the use of a medium. Dry-brush, cross-hatching, Rubbings can be made by plac- etc. Natural textures rendered through combined media to summarize expe- ing paper directly over the textured surface.Textures might riences with actual textural surfaces and to develop control of media. also be printed with pieces of (2) Texture can express a mood or emotion. wood, cloth,etc., by dipping (3) The uses of texture for visual interest in fields outside of painting should these materials in ink or paint be considered. Texture as used in architecture. home decoration, and clothing and stamping. lends a "practical" application to the study of this design element. d. ValueDefined as a scale of gradations from white to black. Discuss color and value. MEDIA: ( 1 ) A drawing of intersecting shapes can be used for an exercise of value Drawing paper distributing. Mention using key values to achieve mod. Chalk Pencil e. VolumeDefined in terms of three-dimensional reality and its illusion on the Ink two-dimensional picture plane. The beginning student usually experiences diffi- Watercolor culty in expressing volume in drawing and painting. However, representation of Crayons space may be better understood if he is made aware of how he understands actual

17 BUT COP/AVAILABLE

MEDIA: space.Explain that seeing and drawingemploy overlapping,convergences, Drawing paper and change in scaleas depth cues. Pencil Scissors ( 1 ) Through simplified cutpaper forms and parallel perspective, the student Stapler can be introduced to three-dimensional design and its illusionon the flat plane. Paste or Scotch tape Using still drawing paper, fold it throughthe center vertically to makea right- angle fold. This makesa space construction which serves as a model for demonstrating parallel perspective. (d)Additional cut and right-angle folds, varying the number and direction of planes, developthree-dimensional design, and offera more complex drawing model. (2) Several geometric shapes representingthe elements of a cityscapeor landscape can be used to demonstrate scale, overlapping, andposition as spatial devices. (3) Paper sculpturecan be useful in studying volume relationships which are basic to design in crafts, sculpture, and architecture. R. Design Principles I. ObjectiveTo introduce the studentto the organizing principles of design and to stress these principlesas universal in the visual arts. 2. MethodThe student should he madeaware of the flexibility of these princi- plesfor personal experience conditions theirinterpretation and makes for variety. Point out the characteristics of thepicture plane as the field on which the design elements function. MEDIA: All graphic media Drawing paper III. COMPOSITION Newsprint A. Landscape Composition Chalk Brush I. ObjectiveTo createan awareness of nature through observation and graphic Ink interpretation of environment. Poster color 2. MethodDiscuss problems related to outdoor sketching.Selecting the subject Water color requires an ability to see and to feel which ismore than mere objective vision. The student must learn tosee selectively, simplifying the mass of detail to present an organized picture. Show reproductions of various artists' work to pointout methods which were used to interpret nature andorganize the painting. A. Space RepresentationBasic perspective should he introducedas the need for such information is felt. A combination of several methodsof space representation would offer the student more flexibility in expression. Itis felt that over-emphasis on the mechanics of perspectivemay he restrictive. An introduction to the following would he sufficient: (I 1 Demonstrate parallel perspective. Show the effect created by overlapping planes. change in scale, and position. (2) Explain how color can he used to strengthen the illusion ofspace. (3) Demonstrate simple perspective. Explain such termsas "eye level," "van- ishing point," and "convergence." None of these methods should become isolated exercises performed for mastery of the technique. Without feeling an immediate need for this knowledge, the student may regard it as a meaning- less activity. h. CompositionHave the student develop his sketches intoan organized composition. Discuss those qualities that contribute to successful organization. Show means by which the elements within the sketchcan be readjusted. estab- lishing new relationships. Developing the sketch should hea creative experience, working directly with materials that encourage freedom. Figure Drawing I. ObjectiveTo meet the student's interest in figure drawing. 2. MethodFigure drawing is a favored activity with this age group. The student is capable of interpreting the figure ina variety of media either directly as in a single figure drawn in freebrush or in more sustained efforts as figure groups composed in space. Drawing should be made from both the posed figure and from imagination. In view of the student's interest in factual representation, the teacher should strive to stimulate an imaginative approach. Drawings made from the posed figure can be valuable in freeing the student from stereotyped representation. Many approaches should be tried, using both visual and emotional stimulation.

18 -- SalOnMMUS% REFEllk.vja: a. Quick action sketchesSketches in brush or chalk may be used as introductory Letfe Drawing experience to figure drawing. The sketch shouldexpress the action of the figure. John Nana and Nicholas Proportion is sought instinctively. After familiarity has been gained with drawing Mose ly Studio the single 3gure, the student shouldattempt figure groups.Line and mass The Human Figure, drawing can be used or bothcan be combined. David Rybins, Viking The Natural Way to Draw, b. Figure constructionBasic figure proportion should beintroduced with em- Nicholas, Houghton phasis that it is to be usedas a guide. The possibility exists that the student may Drawing Lessons from the lose the sparkle and freshness in his work if he is mademore aware of exact Great Masters, proportion than making an expressive, originalstatement. Show the articulation Robert Hale, of the figure by means of "stick-figure" drawings. Demonstrate simplifiedmethods Watson-Cuptill of drawing hands and feet. c. Contour drawingThis activity promotes close observation of the figure and helps the student to store information for imaginative drawing. Stress MEDIA: that sure- ness and quality of line is dependent upon observation.Later the individual Newsprint contour drawings can be developed into compositions planning the figures in Chalk environmental surroundings. Brush Watercolor d. PortraitsPortraits can be drawn in thecontour of mass technique. Demon- Pencil strate placement of features in front, profile, and three-quarter views. The Conte crayon students enjoy drawing each other and meaningfulgroup experiences can be Ink developed in which each studentposes in turn for his neighbor. Ask the student Magic Marken to look for means of expressing character in his drawings. Show how line, color, Ball point pens and technique all contribute to the total effect. Show prints thatmay exhibit contrasting techniques used by artists to portray the character of their subject. Simplified methods of drawing the features of the face should be demonstrated. Have the student work directly with the brush and colorto paint a portrait of a friend or even his own self-portrait. Show how position and direction of lines can establish mood. The student should try several positions of the head. One period could be set aside at regular intervals throughout thesemester to introduce an activity for which time otherwise .might not be found. This activity might relate to a problem in progress in terms of subjectmatter or technique. For example. cartooning might be introduced to supplement portrait drawing,wire sculpture might add three-dimensional reality to the study of line,or experimentation with a different technique might stimulatenew interests in painting and drawing. C. Drawing the head MEDIA: 1. ObjectiveTo presenta basic form for the construction of the head and location of the features. Newsprint Charcoal 2. MethodUse a basic form for the construction of the head, whichis the Chalk same type as that employed in the lessons on figure drawing. For uniformity, this guide uses a block form. The merit of this formis that it leads to a better understanding of the planes of the head. Have the studenttry the basic head NOTE: in various positions of turning and tilting. Foreshorteningcan be explained with cubes drawn in perspective. Basic principles in the locationof features can be This section might be presented presented in the form of a blackboard diagram. With the establishment asportraiture,oras supple- of a mentary figure drawing experi- basic head and the location of the features, the student is introducedto adding ence, depending upon the needs the features in generalized form. Experiment with light and shadeon the basic and interests of the group. head. D. The Portrait Head MEDIA: 1.ObjectiveTo develop a degree of skill in drawing the head and individualiz- Drawing paper ing the features. Newsprint Charcoal 2. Met!iodThe students use each otheras models to keep the features from Pen becoming stereotyped. Poses are varied with the surroundingspace. To demon- Ink strate how light and shade define structure, have the student constructa head Chalk using only shade. (See Sec. II, B, and diagram a. )Interpretative drawing is a Poster paint valuably experience for the student and it keeps the drawing from being lifeless recortlinszs. A discussion of the emotionaluse of color, together with imagination NOTE: and symbolic use of drawing could serveas a starting point. Visual examples A flexiblereflectivesurface would be the work of Van Gogh, Matisse, El Greco. such as a silvered plastic sheet when twisted produces a distorted image that presents an excellent illustration of the impact of distortion.

19 BEST COPY AVAILABLE 117. ziPPROACIIES TO PAINTING

At..4! :. The student has been introduced to work in colorin a variety of ways from the IC-I2 curriculum. The approach has been to presentsituations through which the student could investigate and experiment with materials and methods.Basic facts have been acquired through personal experienci! and through methods which foster creative growth. The complex elements of painting have beenintro- duced slowly so they could be solved individually without discouragement.The function of this section is to draw together andrestate the elements of drawing and painting through the medium ofopaque water color.It suggests one approach tl painting using a still-lifeas subject matter. Individuals vary in their response toany one method and the teacher will find it necessary to employ means by which the needs of thegroup can be met. At this stage of deve-opment the student hasa background of drawing which should enable him to exoress himself freely. The teacher shouldsuggest methods of "seeing" objects rnaginatively to aid the student in findinga creative approach. For example. before startinga still-life painting, the following methods may offer paths to explore in paintings: Move about the subject to fuse many views intoone. Choose an anusual viewpointor lighting. REFERENCE: Use an extreme change in scale to createan "unusual" effect. Gouache Painting, Experiment with different space representations. Arnold Blanche Interpret the subject through knowledge of the structure of the object rather than the surface appearance. MEDIA: Dramatize the subject through expressiveuse of color. Drawing paper With many approaches offered, the student will findone to meet his present level Tracing paper of understanding and will offera goal other than mimic recording of objects. Illustration hoard Water color paper A. Developing the sketch. Opaque water color 1.ObjectiveTo offer a method of developing controlled expression usingan investigative technique. 2. MethodThe interpretation of the subject is arrived it through trial sketches NOTE: and teacher discussions with the student regardingme Ills of "seeing" creatively. While the development of the All sketches should he made proportionate in size to ti.e finished painting. Small sketch is important, it should sketches are to be preferred because the studentc ate view relationships more not be carriedtothe point easily and is prevented from making detailed studies. Sketches whichare de- where it takes the place of the veloped into "miniature paintings" induce copying them when enlarged for the finished work.It is possible to exhaust the interest of the stn finished painting. The fresh, spontaneous effectso often seen in the sketch is dent in requiring too many pre- lost through this copy technique. The value sketches. whichare prepared as a liminar sketches. basis for light and dark arrangement of color, should continue the search for good composition. The value sketch is made identical in size to the trial sketches done in line. Have the student cover the sketch witha single value to set the -key" to the arrangement. Each form is then freely brushed in witha value selected with regard to the "key" value. Usinga brush to lay in the values, without previous pencilings, frees the student from the "draw and color in between the lines" technique. Mention should be made of theuse of value to unify a composition, to create a mood or effect, and to stress or minimize an area. After making a selection of the best value arrangement the color sketches can he approached using the same technique. Using a format of thesame size as that employed for the value sketch, the student should wash ona key color. The value of the key color is derived from the value sketch. The color composition is easier for the student to unify if the entire paper is covered with the key color. Discuss color harmony, distribution and design. Review the secondary characteristics of color and their relationship to the sketch. The student should he encouraged to try several solutions to the color sketch: for example. through the use of pure color, grayed color, mood, etc. The finished work may be carried out using one of the following: a.Compartmental colorin which the color remains closed within the separate shapes or volumes. b. Open colorin which the color patterns are arbitrary and line is required to define volume and shape. B. Techniques I.ObjectivesTo acqt itint the student with painting techniques that will offer new means for expression. -- 20 BEST COPY AVAILABLE 2. MethodTechniques offer the student inspiration to try new things. The teacher should make this area of experience vital through demonstration and visual material. Traditional methods of using water colors and gouache serve as REFERENCES: a starting point with a gradual introduction tomedia used in various combina- Now toUNCCreative tions. The student has had experience in this exploratory use ofmaterials to Perspective, portray representational objects. Show how much more exciting a painting can Ernest Vatson,Reinhold be when the artist employs a combined media to develop textural effects. The Pencil Pictures, teacher may wish to incorporate problems with historical developments in paint- Theodore Kwitzkv, Reinhold ing. The impressionistic technique (broken color) is easy for introducing trans- Perspective for Artists, parent water color and for experimenting with pure color.Combination of Edward Luning, painted surfaces and collage with emphasis on textural effects abounds in cubist Pitman Publishers painting. Three-dimensional effects through warping of the picture plane, transparent effects through combinations of painted areas and colored gelatin,three- dimensional effects through relief and projected "light paintings" offer variety for those students whose interest is in painting in the future.

Drawing

I. AN EXPERIMENTAL APPROACH TO LINE : : Objectives: Broad, free, direct use of line. Line used to articulate space. II. LINE DRAWING AS A DIRECT METH- OD OF GRAPHIC EXPRESSION Objective: Grasp of line as a means to creatively represent objects. III. A CONCEPT OF FORM RELATED TO AREA Objective: To develop an awareness of composition. IV. TIIE ILLUSION OF THREE-DIMEN- SIONAL FORM AND SPACE ON FLAT SURFACE To acquaint the student with a means of creating Objective: To create convincing representations of space and three-dimensional forms on the pictuked a naturalistic space representation. To provide opportunity for developing an awareness plane. of environment. Objectives: To develop a self-critical attitude in the student. To increase the !Ancient's powers of observation. Material's: The ability to represent three-dimensional objects on a flat surface. Tools Atedia Paper To develop control over line. Brushes Ink Drawing paper Pens Lithocrayon Tracing paper To have the student observe line quality through Rulers Wax crayons Construction his own exploration. Scissors Hard & soft paper To develop coordination of hand and eye and percils Newsprint power of observation. Chalk Charcoal To see texture as visual enrichment and as a means Water color of expressing the surface characteristics of an object. To introduce the student to the use of media. Suggested Projects: To show the expressive power of line. Free experimentation in making line. To see relationships of form within a given area. Continuous line to fill space. To see design possibilities in realistic forms. "Blind" contour drawing. To acquaint the student with basic principles of Continuous line contour drawing. linear perspective. Quick sketching with unalterable media.

2 1 BEST COPY AVAILABLE Rubbings of various surfaces with pencilor litho- Cartoons and caricatures in magazines and crayon. newspapers Composition of geometric shapes. Re;.?rences: Still-life composition. Running ink line and blown in ink. Drawing, Daniel Mendalowitz; Holt, Rinehart, and Use photographs to study one and two point perspec- Winston tive. Sketching with The Felt Tip Pen, Henry Pitz; Viking Space representation overlapping, placement, con- Perspective Made Easy, Ernest Norling; Macmillan trast, and relative size. //ow to Use Creative Perspective, Ernest Watson; Outdoor sketching. Reinhold Landscape compositionrealistic, perspective planes, Sketching Is Easy, Arthur Zeidenherg; Bell two-dimensional patterns, abstract compositions. Pencil Pictures, Theodora Kautzky; Reinhold Detailed drawings and rendering from actual observa- Course in Pencil Sketching, I, II, III, Ernest Watson; tion. Reinhold Development of creative designs and compositions Drawing the Line, James Ernst; Reinhold from the results. Japanese Ink Painting, Ryakyu Asito; Charles E. Tut- Cartoons and caricatures. tle Co. (Tokyo ) Creative and interpretive renditions of still life, and Kaethe-Kollwitz Drawing, Herbert Rittner; Thomas landscapes whether realistic or abstract. Yoseloff Drawing Lessons From theGreat Masters,Robert Study: I sale, Watson-Guptill Cubist PaintersBraque, Picasso, Gleizes Pen, Pencil, and Brush, Harvey Weiss; Scholastic Book Drawings of Old Masters Service Works of Contemporary Artists 150 Techniques in Art, Hans Meyers; Reinhold

Water Color Painting

Use: Red sable Pencilssoft, medium Paint tubes or pans Nos. 4, 8, 12pointedEase! Brushes 1"flat Drawing board Sable Paint box Paper Thumbtacks Flat Palette All ragHand made Tape Rigger Soft cloth and sponges Mold made Razor blades Round Water containers 60, 72, 140, 200, 300 pound weights

P.919rr 1

r 1 Procedure: 1 Fasten paper to drawing board or wet paper and stretch it over a wooden frame, fastening it securely and paying attention to corners. Allow paper to dry. A preliminary line drawing is helpful for architec-

J tural subjects but the student should feel free to work directly with wet washes. Making many experiments with colors and textures to become familiar with a good water color effect. The paper is important in creating the spin kling effect that typifies water color painting. Rough textured papers should be usecl as well as smooth ones. A direct manner and a full brush are necessary to achieve the brilliance thatis so important. Water colors should be applied at a darker or stronger intensity than oil paints berillitic they dry lighter. This

qt. isparticularly true when working outdoors on a bright, sunny day. Allow other colored areas to dry and then paint another color over the previously

22 BEST COPY AVAILABLE painted wash. Tilting your board helps to produce .a Course in Wash Drawing, Leonard Brooks; Watson- good graded wash. The razor blade can be used to Guptill scratch light lines through dark colors for some details. Watercolor Methods, Norman Kent Much experimentation is necessary before a good re- Painting the Southwest Landscape in Watercolor, sult can be achieved. Pierce; Reinhold Concepts: Ted Kautzky (Master of Pencil and Watercolor), The importance of experimentation and discovering Charles Kinghan; Reinhold color variations. Painting the Figure in Watercolor, Herb Olson; Rein- A knowledge of transparent and opaque techniques. hold Care of materials. Ways with Watercolor, Ted Kautzky, Reinhold The quick wet technique as compared to the slower dry-brush method. The importance of good composition and design. ReferencesCasein: ReferencesWater Color: Casein Painting, Henry Gasser; Watson-Guptill Water Color (The Happy Medium), William Schim- Techniques of Painting the Waterfront, Henry Gasser; mel; Reinhold Reinhold

Painting

Since the days of the cave dweller, painting has served Importance of seeing the total effect rather than the as an outstanding form of expression for the artist in parts: representing the ideas and observations of the world about him. The artist used brushes, fingers, palette Objectives: knife, brayers, sponges, on canvas, wood, metals, stone, An appreciation and understanding of painting or paper to represent and clarify his moods or feelings from prehistoric times to the present. about su')ects. The ability to use a variety of media in new and imaginative ways. Materials: A more sensitive use of color. Tools Media Vehicles An increasing ability to see, feel, explore, and Brushes ( nylon Tempera Papers relate the world around through painting. and bristle) Oils Cardboard Palette knives Water colors Masonite Materials: Oilcups Acrylics Wood Watercolors Colored chalk Water pans Caseins Canvas Oil Acrylics Temperas Tempera ( powdered and Oil crayons Enamels moist) Melted wax crayons Varnishes Casein Various colored yarns Pastel chalks Ink and glue Inks Turpentine Suggested Activities: Linseed oil Finger and hand paintingPutty painting Painting Experiences: Dry brush Landscapes %Vet-on-brush Interiors Landscapes Murals Wet-on-dry Seascapes Still life Abstractions Crayon Resist Cityscapes City scenes Geometric designs Mural Painting Chalk and powdered milk Seascapes Optical illusions Figure Compositions Encaustic Portraits Illustrations Still-lifes Blot and blow Portraits Palette knife painting Concepts: Sand painting Abstract painting The skillful use of materials. Sponge painting Geometric painting The individual style of the student. Spatter painting Painting to music String painting Painting sensations An important message or mood of the painting. Care and cleaning of brushes. Visit: Need for an orderly palette. Museums. Galleries, and Studios 23-- Os% Free Hand Drawing wigtort References: The Human Figure, David Bubens: Viking Life Drawing, John Napper and Nicholas Mosely; Studio The Natural Way to Draw, Nicolaicles, Houghton Drawing Lessons from The Great Masters, Robert Hale; Watson-Cuptill Drawing of the Masters: Italian, American, French, German, Spanish, Shorewood Pub.

,It fw64.4iewmiai 1. UNDERSTANDING COLOR To introduce the student to the physical, emotional ;J." 'ir. and psychological aspects of color.

e t ... e P. )1111 II. LIGHT AND SHADE 'L' .11.1 '...', .'' 'MA% 1. The illusion of volume. 1 1.:::. ele au r 4 'lb.. Ane. t y ...7.0 kg 4.1111Ve . -41 if 2. Volume expressed through light and shade. 3.Distinction of planes through light and shade. Object ir es: 4.Emphasizing edges of planes. To develop an awareness of composition. To develop an awareness of the formal qualitiesof III. FIGURE DRAWING AND PORTRAI- nature. TURE To regulate drawing with color, volume, andspace. 1.Variety of approaches. The student shouldmn- To regard color as a means of expression andenjoy- tinny to explore the construction of a figure to en- ment in art and daily life. able the student to "discover"a method with which To enable the student to correlateart experience he has success. and environment through landscape, figure andpor- 2.Figure study. trait painting. 3.Figure compositimi. To further the appreciation of form and color 4.Drawing the head. through painting. 5.Portrait. To express an idea graphically. IV. DEVELOPING A SKETCH To develop power Of observation. To develop perception of form to portray objects Alaterials: representationally. Tools .1/(y/hi Paper Learning a means of representing three-dimensional Brush Water color Drawing paper forms on two-dimensional surfaces. Pens Chalk Tracing paper To develop an awareness of the formal qualities of Sticks Ink Newsprint Pencils Illustration board nature. Crayons Poster paper Oil Painting Alateria ls: Tools Media Vehicle Easel Oil paints Canvas Palette Turpentine Nlasoi Palette knife linseed oil Oil clips Retouch varnish Pailit rags Damar varnish Stretcher frames Brushes Nos. 2..1. 6. 8 Flat bristle Bright itound Filbert Sable

24 BEST COPY AVAILABLE Procedure: Concepts: After selecting a suitable subject,a preliminary draw- The importance of careful planning. ing may he transferred to thecanvas. 011 paints are Appropriate use of materials. arranged on palette inwarm and cool areas. The Selection of suitable subject. center of the palette is used for mixing. The under- Understanding of color mixing and color harmonies. coat isosnaIly thinned out paint wi:hturpentine The knowledge of textural contrasts. added. Pay close attention to light and shadowareas. The arrangement of the composition. Large masses are painted first and smaller details are put in at the end of the painting. References: The next coat of paint is puton heavier with less Tone and Colour in Landscape Painting, Merlin turpentine mixed with colors. As progress is made, Haines; Adam and Charles Black (London) the student realizes that the technique is secondary Learning to Paint in Oil, Jerry Farnsworth; Watson- and that design or composition ismost important. Cuptill Painting Abide Easy, John Mills; Gramercy There is no perfect formula, therefore,an oil paint- The Art and Technique of Portrait Painting, Frec;aric ing could be made with a palette knife.It can be glazed, rubbed out, Taubes; Dodd, Mead, and Company over painted, scumbles, impasto, Painting Surf and Sca, Harry Ballinger; Watson-Cup- or broken colored areas can be applied. The final till painting details can be applied with softer sable Portrait Painting for Beginners, Oil Painting Step by brushes and varnish is applied beforeframing. Step, Abstract, John Pratlen; Watson-Cuptill

Art Understanding

One approach to art understanding mightbe developed through an introduction of historicalart forms as they relate to the student'sown expression. These works of art should be presentedas they fit within the scope of the student's project rather than in historical or chronological order.Significant examples from various art traditions should he shownto exhibit the creativeness of man in expressing his environment. Broadening the student's understanding dependsupon an awareness of social, political, and cultural forces as tramosesonlermerow' factors which determine art expression.It is also im- C CR9 portant for him to realize that changes in man'scon- ception of these forces determinenew art forms. A Sian ow 116.1904100*?. .41 failure to recognize this often accounts fora lack of ``.1. understanding beyond standards of themore "real" imitative of naturethe better. ^141tra The total should include examples of each major /11" it' 41 cultural period which producesa significant art form. - ..mac.. - To be in accord with the philosophy of the art guide, articles of daily living should be included with those of painting, architecture. and sculpture. Aesthetic understanding of art is dependentupon an understanding of the plastic elements -- line, color, value, texture, and form. Showing the student how these elements were used to express ideas and needs of other cultures can bring the combined experiences of appreciation and practice within his undeNtanding. In those situations where the teacher finds student interest directed toward acquiring more comprehensive knowledge of art history, a course should be offered to fill that need.

Z5 AVAILABLE Evaluation BESTCOPT

The following suggestionsare offered to guide the to realize that his environment can be improved (ar- teacher's evaluation of studentprogress, and the stu- chitecture, housing. city- planning, freeways, etc.)? dent's interpretation of thecourse in its entirety. The 3. Has the student been made to feel that art should needs and reactions of each class will differto the ex- be part of daily living? tent that no single method can be satisfactory for 4. Has the student developedan ability to evaluate every group. However, these objectives may he ac- good design in a practical functionalsense so as to complished througha summary using the following enable him to choose wisely the commercially made points as a framework: necessities? 1.Has the student becomeaware of his capability for 5. Has the student developedan understanding that understanding and participating in art? art, in its historic past as in the present, is an expression 2. Has the student been madeaware of the existing of the culture and is valueless if isolated from human beauty in his everyday world? Has he also beenmade need and development?

Art History

Object i res: Study of the spirited style of Delacroix. Enrichment of the student's understanding ofart in Study of the emotional distortion of El Greco. the environment. Study of the fantasy drawings of Klee. A knowledge of the different ways in which people Study of the mmtnentary of Toulouse-Lautrec. have expressed themselves through art. Study of the line drawings of Picasso and Matisse. An understanding of how today's art relates to the art of the past. References: The realization that there are qualitiescommon to Painting and Riyility, Gilson; Meridian all great art. Arts and the Alan, Irwin Edman; Norton, Inc. Probients of Art, Suzanne Langer; Scribner 1"isual Resources: Conversations with Artist, Rodman: Capricorn Books Art history hooks Reproductions of Sight and Insight, Alexander Eliot; Dutton Films paintings, sculpture, Western Civilization, Walther Kirchner; Barnes and Film strips and prints Color slides Original works of art Noble. inc. Artifacts Periodicals and magazines Creativity in tlu, Arts, Vincent Thomas; Prentice Hall, Inc. Study and Discuss: The Neeessity of Art, Ernst Fischer; Pelican Main trends in the history of painting and sculpture. The Shape an(! Content. Ben Shawn; Vintage Contemporary painting and sculpture. Form and Function. Horatio Greenough; University of Work of local artists. California Notes of a Young Painter, Hiram Williams; Spectrum ( Print shops Theatrical The Search for Meaning, Alfred Neutneyer; Spectrum Museums Public productions Painting:Some Basic Principles. Frederick Core; Current buildings I.ocal Reinhold exhibits Art fairs monuments The Philosophy of Modern Art, I lerbvrt Read; Merid- ian Actiritis for Students: Analytic of the Beautiful. Kant; Hobbs. Merrill B.th and oral reports. Aspects of Form, Herbert Bead; Indiana University Atrauging exhibit' and bulletin hoards. Beason hi Art. George Santayana ; Collier Books Notebooks and scrapbooks. The Meaning of Art. Herbert Bead: Pelican Correlation with daily work. Painting in the Twentieth Century. Werner I hahmann: Sug.orsted liewa reit and Studies: Praeger Study of the unique achievetnent of Michelangelo in The Art Of the Renaissance. Peter and Linda Murray; relationship to the human figure. Praeger Study of the precise draftsmanship of Ingres, A Concise I I istory of Painting, Michael Levey: Praeger

-- 26 BEST COPY AVAILABLE The Pocket Dictionary of Art Terms, Reginald G. Encyclopedia of Painting, Bernard S. Meyers; Crown Hagger; Hawthorne Publishers, Inc. Dictionary of American Artist, Paul Cummings; Mar- History of Art, H. W. Janson; Abrahams tins The Picture History of Painting, Janson; Abrahams Art and Civilization, Bernard Meyers; McGraw-Hill A New World History of Art, Sheldon Chevey; Viking The Horizon Book of the Renaissance; American Heri- Art Through the Ages, Gardner; Crosby tage Pub.

Lettering Objectives: Techniques: To develop skill, to learn a basic alphabet and to 1.Practice the formation, proportion, balance, and meet the student's need. spacing of letters. An understanding of the meaning of communica- 2. Demonstrate optical spacing and balance of words. tion and its historical development. 3. Show the formation of the letters in a basic alpha- An awareness of the importance of spacing and bet by the elements they have in common. precision in lettering. 4. Show basic strokesvertical, horizontal, diagonal, The ability to make an alphabet. and curved. An awareness of the differences in letters made 5. Transferring lettering from a layout to the final with the pen, brush, and chisel. work. 6.Student should explore the possibilities of various Methav: meclias to create special lettering effect. Simple alphabets. 7.Point out relationship of lettering style to the mes- Variations on this alphabet by making changes in sage it conveys. Learning to think of lettering as an icith and height of letters. integral part of the layout should include style, color, Designing an alphabet. and legibility. Using a brush and/or a pen and ink. Commercial Art Obligations: Media: Meeting the standards for reproduction. Paper Pen holder and various nibs Meeting of deadlines Ruleru er ( Speedball A and C ) India ink Cut paper Pencil Speedball lettering charts Lettering brush Poster paint Suggested Projects: Posters Allover designs using Poster layouts letters Travel poster I.etterheads Folio covers Lettering for bulletin Magazine layouts boards and displays Directional signs for Lettering words, titles, corridors sentences, paragraphs in \ tonograrns various styles of pen Three-dimensional signsPackage design Record album cover Illustration ) Trademarks, insignias, Cartooning (1"- ''r motifs Labels jog.eA,e. Coats of alms Brochures 4? . Story boards Newspaper drawing be Book jackets Spot drawings Booklet illustration Swimming pool advertise- P Stage or musical poster ineitt Television commercials Soft drink advertisermnt Comincrcials Industrial products and their design (..(diert : Samples of( :othic, Homan. Manuscript. Chancery, and other styles of alphabet cut trom magazines and mAvspapers including contemporary lettering.

27 COIitialett Commercid Assignments Materials: 110 Commercial art often requires working to satisfy the Tools Media tastes and the whims of someone else, frequently Pencils Paper Pens and inks Illustration hoard someone who has no art experience. This could bea Brushes Water color paper unique experience for the student. Many willnot like Air brush Pastel paper this replacement of his will; others will failto grasp Triangles Coquille paper the necessity of meeting Mat knife Tempera a deadlinehut many will Scissors Cascins find these commercial assignments rewarding.Rec- Silk screening equipmentPastels ommended for a selectedgroup in H, III, and IV Drawing board Masking tape year art students. Rubber cement Construction paper

Lettering and Layout Design Concepts: Importance of satire, impact, and cartoons Advertising attracting publicresponse Knowledge of lettering forms Appropriate selection Use of spatial relationships Dummy construction Rough 1.1yout ,...,.....,,,. Finished layout for any advertisement - 4, .,-- 40.... Beauty of design .,e ..,,,, .4, Working for reproduction it a.Line cut process .e. :f ,-1".1°' -or h.Half-tone process .gi.,__.:..1 c.Color process and breakdown Stress: Skill and use of tools Composition Speedball Textbook, Ross F. George; C. Howard Hunt I tarmonies.of line, form, texture value and color Lettering, Higgings; Ink, Inc. Individuality of expression Techniques, Higgings; Ink, Inc. Importance of simplicity Art Today, Faulk;ger, Ziegfeld; Hill Artist's relationship to mere; ndise and product Lettering, Harry E. Wright; Pitman Pub. Corp. Lettering-Art in Modern Use, Raymond Ballinger; References: Reinhold Posters. I toward Doughtier; Pitman Layout, Raymond Ballinger; Reinhold The Book of Signs, Rudolf Koch.. Dover Signatures and Trademarks, Rand Holub; Watson- The History and nehnique of Lettering, Alexander Guptill Nesbitt: Dover Lettering, John Cataido; Davis

Interior Design Object ir es: Suggested Projects: An understanetng that it isnecessary to know the Floor p!anc rules for beauty and how to use them in order to have Color schemes and harmonies an attractive home. Furniture arrangements An increasing ability to plan and coordinate furni- PLture hanging ture. equipment. drapery and chair covering patterns, floor mid wall covering in a room. Coneet: The development of intelligent home planning and Pic,ures of wall arrangements. furniture. gardenar- consumer buying rangements. houses. pieces of wallpaper, andany

2S BEST COPYAVARABLE other material which can be discussed and criticized Nature Drawing: for art quality. Observing designs and paterns of nature in objects Design: such as cones, sea shells, flowers, leaves. Your own room as you would like it. Contour Drawing: Print material for draperies, pillows, or upholstery. Figure, still life, etc. Weave pine mats, rugs, or table runners. Wallpaper for your own room. Cartooning: Make a scale model of a oneroom studio apartment. Sports An interior decorator's studio Spot Visit: Editorial or political Strip An interior decorator's studio Local furniture stores Perspective Drawing: Museums Parallel References: Angular Three point perspective Guide to Interior Decorating, Betty Pepis; Reinhold Ellipses Designs for Living, Ford and Creighton; Reinhold Abstract, Geometric, Free Form Design: Fashion Drawing: Figures and still life Current and future fashions Accidental shapes for inspiration Drawing from Memory: Clusters or Grouping: Summer 'experiences Figures School and social activities Homes and additions

Design

Objectives: To develop a creative attitude toward theuse of To develop perception and imagination through materials and techniques in solving problems of de- varied experiences. sign. To acquaint the student with volume. To broaden his attitudes, knowledge, and skills in To develop specialived skills and techniques based relationship to other areas where design is essentially on the student's knowledge of design fundamentals. important. 29-- BM COMAVAILABLE

Concepts: Abstraction, scribbles which lead to exploration and Make the studentaware of his design as it exists in discovery nature and man-made objects. Studies from nature Two-dimensional designs. Organic Three - dimensional designs. Inorganic St es.s: Figurative designs Animals 1. A design as it relates to two-dimensionalpattern Groups and surface enrichment. Design from other cultures 2. A design as it relates to three-dimensional objects Africa, China, Mexico, Italy, etc. in spare. Useful designs 3.Relationship of elements to each other. Tension, Industrial design, fashion, interior, commercial de- movement, and spatial interpretation developas ele- sign, package, etc. ments are related to each other and to the picture- Graphic design pane. Posters, signs. trademarks, symbols, greeting cards, .1. A student should be aware of designas it exists in hook covers, wrapping paper, stencils, silkscreen, nature and man-made objects. block prints, repeat designs, border designs, textiles. 5.Some writing forms suggest linear motifs: Callig- raphy. pictographs, and hieroglyphics. References: 6. Geometric shapes and solids used to develop ab- Design for You, Beitler-Lockhard; Wiley and Sons stract and non-objective mr "fs. Basle Design, Kenneth Bates; World Company 7. Achieve visual interest. Nature as Designer, Bager; Reinhold a.Positive-negative reversal of values. Design in Three, Randall and Haines; Davis b.Shifted image superimposedon a color shape. Craft Design, Mosley, Johnson, Koening; Wadsworth c.Transparency of superimposed shapes. Publishing Co. d. Pluralismone contour linecommon to several Vision in Motion, Moholy; Nagy shapes. Design, Sybil Emerson e.Fluctuating imageobserver's attention alternates Primer of Visual Art, Mundt between figure and background. Thoughts on Design, Paul Rand 8.Characteristic of volumes. Crafts Design, Mosley, Johnson, Koening; Wadsworth Publishing Co. Suggested Projects: Designs for Artists and Craftsmen, Louis Wolthonok; Geometric Design Dover Lines. circles, rectangles, triangles The Art of Three-Dimensional Design, Louis NVolcho- Imaginative designs from memory-- nok; Harper Publishers

Mural Design

f et hods: Various techniques of mural making such as wall paintings, fresco. reliefs, friezes, etc. I.Working together and exchanging id"as. 2.Need for careful planning and research. Care of and understanding of materials. 4.Knowledge of great mural painters fromMexico, Italy. France. etc. 5.Knowledge of projecting techniques. Sugge.s.trd Pojrcts: of historic significance. (Civil War. etc.) Murals ('I NCilitifit. ( Biology, Spare. hirals of aesthetic significance.( Abstracts. Styliza- tion. ) \fur:11s of literary significance.Shakespeare. Stories. ) Circus I lumor S Sea Satire 30 BEST COPY AVAILABLE

Travel Medicine utmost importance.Before any sketches are made, Transportation Music careful research should be done. Ideas, inspired from Fantasy Sports Inventions Education many sources, may be written up. A great deal of Family of Man correlation with other subjects usually takes place. Many preliminary studies, sketches, and color schemes Materials: are made before one is selected. A large, simple Tools Media contour drawing or cartoon is made to actual size. Brushes Paints The drawing is then transferred to the workingsur- Scissors Charcoal Pencil face.Tempera paints are usually used on paper Clue murals and oil paints, enamels, fabrics, colored papers, Tile and other materials used on more permanent surface. Class Large flat areas of texture and line may be added later. Fabric Wood panel The mural must be viewed from a distance while Brown Kraft paper working to see that all parts are harmoniously related. White butcher paper Construction paper References: Procedure: Bulletin Boards and Display, 1961, Randall and This project is usually the work ofmany students, but Haines; Davis Press, Worcester it can be also a good long-range assignment foran Murals for Schools, Arne Randall; Davis Press, Wor- individual. Selectingan appropriate topic is often of cester

Collage Media: Line, color, texture, form, and values. Colored papers Chalk Harm--,y, proportion, contrast, rhythm, dominance, Newspaper Pencil and balance. Magazines Corrugated cardboard Common materials can be made into works of art. Yam Fabric Wire Copper References: String Sandpaper Collages, John Lynch; Viking Press. Cork Wood Plaster Paste Collages, Harriet Janis and Rudi Wash; Chilton Com- Ink Scissors pany. Paints Collages and Constructions, Lois Lord; David Pub- lishers. Method: Collages, Francis Brow; Pitman. Select a variety of interesting materials,some new, others old, rusty, burned,or discarded objects. Select Objectives: the materials that are especially exciting for eachin- An awareness of the history of collage and its cur- dividual. Look for color harmony, textural contrasts, rent revival. unusual shapes, and a variety of values.Begin by The ability to assemble varied materials with the cutting, tearing, and arranging materials on a heavy limitations of good taste. cardboard backing. When the arrangementseems The understanding that art can he made from satisfactory, the various pieces can he glued to the "found objects. hacking. The design should havea center of interest, Materials: a mood. or suggest a message. The design can be Tools Atedia enhanced by painting out certain areas or adding Scissors Photographs photographs, letters, or other objects to the arrange- Razor blades Buttons ment. The student may draw over parts of the collage Straight pins Cloth or glaze sections of it and should use his imagination Feathers Plastic and ingenuity to arrive at a highly individual result. Wood Paint Concepts.: Yarn and string Art exists all around us in many forms. Cardboard scraps Selections of appropriate material to create their own Rubber cement Paper designs. Labels Variety plays a major role in design. Tickets 31 Suggested Projects: Dadaists Book jackets Esteban Vicente Record album covers John Lynch Posters Matisse 11° Collages combining different textures andmedi Marea-Belli Study and Discuss: Collages of Braque and Picasso Nluseums and galleries to see examples of collages.

Fold and Dye Objective: Brushes Study of the methods of folding and clipping Containers for paints pal/ITS. Suggested Pwkets: Media: 1Vratpping papers Paper. newsprint. tissue, paper towels Book covers Color mediawater color, thinned tempera, colored Portfolio covers ink Stationery

Decorated Papers Object tees: Suggested Projects: Understanding of various materials for printing. Book cover designs Various techniques for cutting and the mechanics All over design of repeat patterns. Greeting cards Ataterials: Decorated wrapping paper Tool.v Media Vehicle Knives Poster paint Paperall kinds Razor blacks 1Vatercolor Brayer Ink or dye Sponges Spools Wood block Artgum Vegetables Pans

Paper

Emphasis: References: To cocoorao an appreciation of the history of paper Crafts. Design,Mosley, Johnson, Koenig and its wide eommerend uses. To stimulate an inter - Design in Three-Dimensions,Randall and Haines Artsand Crafts.Wankelman, Richards. Wigg estin the versatility of paper as an expressive art Teachers Craft Manual.Bryce and Green medical) and to gain experience in the manipulation Cut Paper Work,Christahel Russell Cox and use of the material. Paper Sculpture.Arthur Sadler Paper Folding,William Murray, Francis J. Ridgwey Suggested Projects: Paper Sculptures,Mary Grace Johnston Adv( natures with Scissors,Edith Becker; International Stenciling Decorated paper Textbook Company Collage Fold and dye Victoria Bedford Betts; Davis Paper sculpture Batik Exploring Papier Machu', Papier mach() Tie dyeing Publishing Cc). Wax resist Croak;Paper Design, Rouger; Reinhold

:32 Two-Dimensional Art

BEST COPY AVAILABLE Drawing: Cooed drawing is one of the artist's basic tools.It is the result of keen observation and ability developed through practice in representing that which is seen or felt.The artistexpresses.intensifies,orclarifies through the use of fundamental elements of art (line, texture, and form). The artist may at times draw to represent factual characteristics and details or con- versely may develop the abstract and the emotional. .1tedki: PencilsColored, charcoal, hard and soft lead PensBallpoint, croquil, speedball Charcoal Crayons Wolfe crayon, lithograph crayon, Conte crayon BrushesWatercolor, Japanese, stencil, bristle, lettering Magic markers Pastels Variety of papers Drawing Experiences and Drawing from Observation: Simple inanimate object Croup of objects example, the rectangle may be the simple element to models be tDed. Much experimentation will follow as to sizes, Standing figure shape, movement, balance, and composition. When a Studies successful arrangement is attained, another element Action drawings such as color or texture may be added. Addition or Seated ( foreshortening) subtraction of elements can he included. This process Likenesses can continue until a most complete use of all elements I Ieads is achieved. I lands St ress: Materials: The organization of the basic elements (line, form, Tools Media texture, value, and color) into a pleasing arrangement. Brushes Paper Paints The understanding of the elements of composition Pens Inks Crayons ( harmony, rhythm, proportion, dominances, contrast, Silk screen String Pencils balance, unity, and order). Textiles Block 'hinting Wire Wood Afet hods: Charcoal Pastel Clay Plaster Repeat patterns Balance, formal, informal Class Stencils Accents arrangement Transparency, reflections Limitation of color Procedure: Overlapping schemes Contrasts Movements of line Limit the problem.I lave students use one element to Distortion, stylization, Alteration form a design rather than to try to include many. For exaggeration Limitation of size, shape Stenciling Objectives: Concepts: To understand relationships of stenciling to the Color studyeffect of mixtures, shading, etc. industry of textile designing. Planning design ( simplicity ) To gain knowledge about one of themore common Amount of paint to be usedfor brushfor spraying methods of duplicating. Cutting stencils To explore the possibilities of stenciling (using Cleaning (brushes, stencils, etc.) both positive and negative methods.) Finishingheat application on fabrics to make paint To enhance fabric for some functionalpurpose. permanent. Suggested Projects: Fabrics Greeting cards Wall hangings Wrapping paper .1I: Place mats Stationery ?4 'vita Table cloths Book covers Skirts Bordersframes Scarves mirrors, etc. Runners Objectives: aliateaSyr,i, Printing by using stencils can he used to emphasize the principals of good design and composition. Enables students to appreciate the techniques employed and to gain skill in using them. Method: The design is cut from any heavy paper and glued lightly on the side of the silk that will he next to the paper.If you use a washable paint, thescreen and frame can he used over and over for many different stencils. A frame made froman embroidery hoop and Materials: organdy can he used. Stencil paper Spray gun Cut a rectangle of any heavy cardboard thesame Stencil knives Textile paints width as your silk to useas a "squeegee." Tempera. Inks or paint (water/oil) Heavy paper poster or any other kind of paint should lw placed at Fabric Glue Thumb tacks Thinner one end of the frame. The paint should be of heavy Extender Tempera cream consistency. With the cardboard pull the paint Cardboard Backing for attaching smoothly and slowly over the silk.Lift the frame and Stencil brushes fabric 'ean the silk. Tempera Batik Objectives: The important differences between the batik method The importance of careful planning to produce and a regular tempera painting is that the black ink successful results. is painted over the finished tempera painting and The importance of contrast in value, texture, color, then submerged under water. The result will create size, and forms. a fascinating textural effect and a very spontaneous Allow for unexpectedresults and use themad- result. vantageously. It is good planning not to cover all the whitepaper Materials: with paint, but to leave !Taws around the colored 7'001s Atedia areas. Emphasize the use Of bright or light colors in Brushes Tempera contrast with the black ink. The ink will adhere to Large tray Paper the unpainted areas but will wash off the colored Ink ones. Wait until the ink is dry before submerging the Method: paper in water so that the colors will remain intense Select an interesting subjetlandscape,figures, ant- and will not wash out. Some fondling upcan be done teals, abstract. etc. 34with pen and ink or brush and paint, ifnecessary. Batik BEST COPY Objectives: Suggested Projects: AVAILABLE An understanding of the batik process and the Table mats ability to decorate a fabric using it. Tray cloths A knowledge of the origin of batik and the strong NVall hangings in combination with a block print influence it has had on textile design. Book covers An increasing ability to make use of the fluidna- ture of the design possible with this technique. Head scarfs Tics Materials: Tools Atedia Brushes Beeswax References: Hot plate Paraffin Introducing Batik, Evelyn Samuel; Watson-Guptill Sketching frame Tjan-tung Granite pans Newspaper Creative Textile Design, Rolf Hartung; Reinhold Wooden spoon Cold water dye More Creative Textile Design, Rolf Hartung; Reinhold Iron Fabric Design on Fabrics, Meda Johnston, Glen Kaufman; Ironing board Muslin Silk pongee einhold Cotton batiste Batik: Art and Craft, Nik Krevitsky; Reinhold IIandkerchief linen Textile Printing and Dyeing, Nora Proud; Reinhold Study and Discuss: Fabric Printing by Hand, Stephen Russ; Watson- Japanese method of batik Guptill

Tie-Dyeing Objectives: Suggested Projects: The ability to hand-decorate a fabric using this Dress material technique. Luncheon cloths An appreciation for good craftsmanship. Wall hangings Experiment with: Tie-dyeing with a print Tie-dyeing with a drawing (magic marker) The three varieties of tie-dye pattern Rosette Broad stripe Fine repeat Materials: Tools Several weights of thread, Wooden stirring stick twine and cord Hot plate Boilable dye Glass container Fabric for dyeing Silk, silk chiffon, georgette, percale, muslin, handkerchief linen, batiste, soft viscose rayon

Wax and Resist Processes ( Tic-dyeing and Batik ) Object ire.s: To approximate inthe classroom the Japanese To gain understanding and appreciation of color method of Batik. and design in hand-dyed fabrics. To study the history of fabric dyeing from the time To learn to enhance fabric by the use of dyeing and of the Egyptians to the present. to learn about this art which was developed in India in an( lent times. Materials: ExperimentsBatik sample Tools Media Tie-dyeing sample Frame Lightweight fabric Suggested Projects: Iron Beeswax Hot plate Paraffin Dyed material for Container for wax Japanese brushes Skirts Dye container String Blouses Dyes Scarfs Concepts: Handkerchiefs How to make a planned or unplanned design Runners Effect of colors on each other when being dyed Wall hangings Safety factors (hot wax) Combination of Batik and block print

Wax Resist Objective: Suggested Projects: A study of color and design techniques and charac- All over designs teristics and reactions of wax with water. Landscapes Ataterials: Still lift' I Inman figure Tools Media Brushes Crayons Paraffin Beeswax Liquid floor wax %%later color paint Thinned poster paint Block Printing Objectives: Various methods of printing. Realization that many results may be derived from one design. Commercial printing processes. Materials: Tools l tedia Cutting tools Linoleum roll Brayer Linoleum blocks Printing inks p Water soluble, oil base Papers Cloth Plaster blocks M et hod: Make preliminary designs on paper. The free-brush Additional blocks may be used when more thanone technique is very good.Design factors involved in color is desired. Care should be taken in applying the creating repeat motifs, all over patterns, geometric ink with the braver so that the proper amount is designs. non-objective designs, border designs, etc.. achieved to prevent bare spots or too much ink from should be stressed.Design is then transferred from filling in small lines of the design. Coloredpapers paper to linoleum by tracing technique. Design must can be used for interesting effect. Overlapping areas be reversed so that it will not print backwards which of the design may produce unusual effects. Theem- is especiall:. important to a design with lettering. The phasis throughout should be placedupon the devel- design is then carefully cut out with different cutting opment of the student's personal expression and the tools to create a variety of lines, textures, and shapes. quality of the independent thinking used in solving The need for safety in cutting milA be emphasized. design problems and techniques.

36 BEST COPY Printmaking AVAILABLE

Plaster Block PrintsPlaster of Paris, vaseline, shellac. molding box, printing inks, container for pouring the plaster and water mixture, sharp tool, brayer, palette. paper, and printing inks. Acetate PrintsSheet of acetate, sharp tool, brayer, ink, palette,.cleaning cloth, paper to print on. I Eraser and Rubber Tubing PrintsErasers, strips of rubber tubing. standard printing equipment and wood 4-4wir:A-ef. blocks, glue. Suggested Projects: Wrapping paper Greeting cards Posters 14 4%. 46,4k? !Ailing paper for book-binding Textile designs (border and all over patterns) Wallpaper designs Book covers Book plates Fine art prints Visit: Alaterials: Galleries. studios, and print shops Wood Cut PrintsWood ( pine, redwood). cutting Sec how colors are separated and color plates are tools, printing equipment, paper, inks. made Silk Screen PrintsFrames, screen of organdy or silk. silk screen inks, film, adhering solution, stencil knife. Collect: tusche, tape. shellac, lacquer. thinner. squeegees, Le- Samples of various methods of printing such as etch- Page glue, brushes, cotton, cloth or paper to print on. ing. lithography, and monoprinting.

Relief Printing

Objectives: Concepts: To explore the possibilities of relief printing and Experiments to acquire knowledge of the tools and techniques in- Ghw on glass volved. String on wood To learn that from this method many mpies can be Rubber Cardboard made of one print. Plaster ( incised ) To develop ideas into designs by planning so that Use of tools for cutting ( safety factors they become meaningful statements. Difference between positive andI legit tis ecuts Application of ink ( amount ) Ataterials: Pressure in printing Tools Cleaning process Efieetiveness of design for printing process used. Lino cutters Linoleum Wool Cardboard Vegetables Suggested Projects: tools Gluo String Fine art prints Greeting cards Brayers Rubber Plaster Portraits Book covers Palette ( glass ) Vax Printing press Landscapes Wrapping paper Inks ( water or oil ) Still lifes Wall hangings Paints ( water or oil Monograms Book plates 37 Printmaking

Object icons: Cardboard PrintsCardboard, scissors, printing paper, A knowledge of, and experience with, planographic, shellac, brushes, ink (block printing), cleaning fluid, relief, and intaglio methods of printing. cheesecloth. An awareness of the enhancing qualities of pattern Leaf PrintsCarbon paper. newsprint and colored in nature and man-made objects. papers, all types of leaves, pine needles, ferns, grasses, A greater ability to appreciate commercial processes and the works of the graphic artist. etc., iron (electric). Suggested Techniques: Vegetable and Gadget PrintsMiscellaneous house- hold gadgets, potatoes, squash, and other vegetables, Stenciling-- Stencil paper, scissors, stencil knife, stencil brushes. water or textile paints, turpentine,paper or printing ink or tempera colors, sharp tool, brushes, cloth. palette for mixing. paper. MonoprintsInks, glass plate, paper (plainor col- Clay Print Modeling clay, pointed stick, rubber ored ). cloths for wiping. brayer or paint pad, inks, newspapers. Wax PrintsWax (candle ends, wax crayons, paraffin), sharp tool for incising on wax, cardboard box for wax, Linoleum Block PrintsBlock printing inks, linoleum brayer. ink. palette!, and paper. blocks. brayer. palette. linoleum cutting tools. press.

Experimental Printing

Object ires: Emphasis: To explore objects and their ability to leave an Experiments impression. Object prints using hands, fingers. etc. To we everyday objects in a new wayas useful To use man-made objects such as string, yarn, materials and tools to produce art forms. sponges. erasers. etc. To realize that many experimental prints will be To use objects from nature such as grasses,twigs, unique by the very nature of the process involved. leaves, etc. To explore the varied processes and procedures I lave each person make a monoprint. involved in printmaking. Explore as many different methods as possible. Materials: Amount of ink.' Amount of pressure. Tools Media Palette (glass) Leaves Grasses Suggested Projects: Brayers Bark Stones Monoprints Printing press Pennies Scrap cloth Repeat patterns for wrapping paper and book covers optional Scrap yarns String Fine art prints Sponge Straw Inks (water Cardboard Textile prints or oil ) Book marks

Monoprint

Ohjectire: Print block ( glass. metal. or masonite An original printing processthat allows a good Turpentine. for thinning study of pictorial composition. Soft printing paper Media: Method: Artist's oil paints The design is painted on a piece of glass and the Printer's ink print is transferred to the paper. The original painting, mpura however, is not destroyed. 38- -- Etching or Intaglio BEST COPY AVAILABLE Objectives: Method: To explore the possibilities of etching. An image is cut into a place with hand tools and acids. To acquire skill in the techniques involved. Ink is spread onto the plate so that itfills the lines Planning good composition. etched below the surface.Itis then wiped off the Materials: surface. Tools Media Place dampened paper on the copper plate and then Eland tools Co plate ruin both plate and paper through a press thathas Rags Inkper rollers. The press pressure forces the damp paper Glass trays Paper into the etched lbws thus soaking up the ink. Printing press Silver point Acids

Intaglio Printing Objectives: Method: The relation of color harmonies. Apply successive layers of crayon working from light Importance of direction of movement. to dark and crossing in different directions. Rubbing Use of variety. with tissue and engraving with a sharp instrument Effectiveness of transparency in achieving an aura will produce line. texture, and pattern. A finish can of mystery. be achieved by using a solution of diluted acrylic Materials: paints. This solution flows into the etched areas cre- Tools Media ating accents. Wherever the paint is applied over the Brushes Crayons Papers crayon, it produces an illusion of transparency. knives Acrylic paints Oak tag Tissuo Light hoard hard finish

Lithography Object ires: Method: A study in the history of lithography. A lithographer uses a special wax. lithograph crayon, A good study of design. or liquid called tusche.Ile draws his design on a Emphasis of line importance ina composition. heavy slab of porous stone and the wax actually fills in the pores of the stone. When the entire surface is Wax lithograph crayon (ttiscliel wiped with water. the non-waxed areas absorb the IIca%y slap of porous stout. water. Then the ink adheres only to the pores that Water have the wax drawing. Printing is accomplished with ink a very heavy. specially desigved lithograph press. Lithograph pros, I'tinting paper

Graphic Arts

Printing Processes: Conee111S: MidAtom!. )n101.11111.adlio.ird. plaster mid appvciation()) ititiffiiingthe principles of 12.,00d omploion. 1111.04lio engra%ing. etching. lithograph%.tlr%point. crIlo-print, Suggested :Activities: tint f acesilk screen. stencil. monoprint ilhistrati%, print, .1,!Lunn %%(.1.k, idAlton a level \fixed procss1.%--(\priliitt.11 1% Oh other art forms.

:39 -- BEST COPY AVAILABLE

Illustrative materialbooks for Children's Hospital, Historic Afodern school, and community activities. Durer Helen Haselt A unit or repeat design foruse on cards, cloth, wrap- Eli Wallach Ruth Reeves ping papers. Hokusai Eli Wallach Frascon Baskin Background and Appreciation: Surface intaglio Daumier Rembrandt Consideration of techniques and styles of greatprints George Bellows John Taylor Arms as mentioned in group discussion with greater empha- Renault Whistler sis on the more mature application of these skillsto Toulouse-Lautrec Goya Blake classroom projects. Mayeter

Silk Screen Printing

Objectives: Greeting cards Wall hangings Emblems To become familiar with the history of silkscreen Signs printing. References: To gain knowledge and understanding of the equip- Silk Screen Print Making, Harry Shokler; Tudor Pub- ment and materials used for this process of printing. lishers To become associated with the versatility of silk Screen Process Printing, Will Clemence; Blandford screening and its wide use commercially. Press To apply this knowledge to make useful as wellas Silk Screen Techniques, T. I. Biegeleisen and Max decorative projects. Coln; Dover Publishers Materials: Exploring the Graphie Arts. C. Van Norston Co. Tools Media Cloth From Oil Stencils to Silk Screen, Jessie Stephens; Frames Organdy or silk Adhering liquid Charles Scribner's Sons Film cutters Inks (oil or water) Tape (masking) Printmaking Today, Jules Heller; Henry Holt and Co. Squeegees Film Lacquer Thinner Wax crayons Printing Glue Squeegees New Creative Printmaking, Peter Green; Watson- Sponge Paper Guptill Concepts: Crafts Design, Mosley, Johnson, Koenig; Wadsworth Suitable design Publishers How to transfer designs Arts and Crafts, Wankelman, Richards, and Wigg; !row to cut film William C. Brown Setting up a frame (stretching material, etc.) Teachers Craft Manual, Mayo J.Bruce; Feardon Adhering film to screen Publishers, San Francisco Masking Printmaking, Donna Z. Meilach; Pitman Publishers Preparation of paper or fabric to be printed on Fabric Printing by Hand, Stephen Russ; Watson- Printing mIre than one color) Guptill Cleaning Block Printing on Textiles, Janet Erickson; Watson- Experiments Guptill Clue and hisehe Printmaking Today, Jule° Heller; Holt and Company Wax crayons Etching Sponge Paper ( torn) ( adhering other subjects to screen) The Technique of Etching and Engraving, John Bruns- don; Reinhold Suggested Projects: Lithography Fine art prints Book plates Stationery Insignia The Technique of Lithography, Peter Weaver; Rein- Textiles Posters hold Mobiles BEST COPYAVAILABLE

Objectives: To learn about a new art form and its relationship to sculpture. To further the understanding of three-dimensional design. To study the effects of space and lightas an integral part of a design. To use this information and relate it to balance, form, and color. Exploration and experimentation witha design that moves in space. Development of an organized design that is attractive in all positions. An appreciation of the craftsmanship involved in the making of mobiles. Materkds: Suggested Projects: Tools Media Mobiles using Knives Paint ( tempera, Yarn Metal shears acrylic) Turpentine Geometric forms Scissors Thread ( nylon orCardboard Free forms Mat knife mobile wire) Sheetmetal Fish Brushes Plastic Wood (balsa ) Animals Pliers Paint ( oil or Plaster of Paris Mobiles with simple abstract cardboard or balsa wood water ) Class Papier Mache Miscellaneous shapes. 12-18 gauge wire Metallic papers More complex mobiles of metal, glass and/or plastic Liquid solder Pottery using a definite theme. Nylon thread Aluminum A mobile of shapes within shapes. Glue Thin copper Complete abstract constructions. Magazines Cork Interpretations in mobile form. Paper ( construc- Spools, etc. tion, tissue, Study and Discuss: news, etc. ) Work of Alexander Calder Concepts: 1)ispla y: Understanding of balance ( various kinds 1. The mobiles around your school. Understanding ways of construction. Planning mobile according to location for balancing. References: Proper use of tools. flow to Make Mobiles, John Lynch; Viking Press Relationship of balance, form, color, tospace and Making Mobiles, Anne and Christopher Mooney; Wat- light. son-Guptill

Paper Sculpture

Objectives: Materials: An awareness of paper and its potential. Tools AWN Experience with and exploration of pale litany Scissors Various papers and textures possibilities. Razor blades Tape Rulers Exeellent medium to study light and shade. Erasers Stapler Rubber cement Also the relationship of plane and formcan be Punch achieved rapidly. (:ompass BEST COPY AVAILABLE References: Adventure withScissors and Paper, International Crafts, Designs: Mosley, Johnson, Koenig Textbook Malang Mobiles, Watson-Cuptill Creating with Paper, Pauline Johnson Paper Sell 1pture, Mary Grace Johnston Design in Three Dimensions, Randall and Haines Paper Folding, William D. Murray, Francis J. Rigney

Papier Mache Objectives: References: Study of the history of papier ma,:he., its origin, and Masks, W. T. Benda top-making in various countries. Crafts for Fun, Evadna Perry The study of !nadi will be an excellent introduc- Crafts Design, Mosley, Johnson. Koenig tion for studying form, color, texture, and three-di- Teacher's Craft Manual, Mayo J. Bruce, Ilarry B. mension. Green Study of three processes of making papier machi.. Exploring Papier Mache, Victoria B. Betts; Davis Pub- Suggested Projects: lieatits Mask making Three-dimensional sculpture

Three-Dimensional Papier Mache Objectives: Method: The study of form, color, line, and texture in three- 1.Paper pulp methodTear paper into small pieces dimension. and place in pan. Cover with hot water and soak for

A study of the three processes of making papier several hours. When the pulp is.broken down and mache structures. water squeezed out, paste or glue is added. It can then a.It may be modeled like clay. he modeled like clay or added to newspaper forms. h.It can he used over a frame. 2.Paper strip methodTear paper into strips. Dip c. May he pressed into a mold. the strips in the paste mixture and then apply to the ?tfedia: desired form. Newspapers 3.Press molt: method Either strips or pulp may be Paper towels used. A ready made form, such as a bowl or tray car. Wallpaper paste be used. Just grease inside with vaseline qtr cold cream Objects on which to build forms to prevent adhering to sides. Build up desired thick- I.Bottles ness with mache. Dry. Remove and decorate. 2.Boxes Suggested Projects: 3.Fruits Human figures Animals Trays 4.Balloons Birds Bowls Free form

Three-Dimensional Art

iti3i;4:,,F./..i.q,..,.....-..-.e..,...... !,.... "...... ;._.,...,...... ,,,,,-.,... This area. one of tremendmis scope', will include: -v rok-.1. .--. .P.1,-.--. ;2... :. 4.;,--_,-,,,..1 ...,.. Model making. sculpture. stabiles, mobiles, and all .- .-1...1 #`;..i.'. .---e ..,-1c,....", , ,...:c, three-dimensional art forms not specifically included . - P '.5 in our crafts section. e..,...t. I ,,.', s t '.A, Scut/dim': .....V..4,.."; t ...... , t. 'y Sculpture provides a fine example of the continuity of 7 t',..,..7.. ,.:... ., ..'...,. e../' .., the art program. On the elementary level, youngsters IL.ei4.1 i are given the ()ppm Utility to use modeling clay and to ; Ie..s.' f, . ,!..V.'...-f'".4 create highly imaginative and expressive forms often ,c,...: "t: ..1 in a primitive lint uninhibited way, manipulating and Pxploring. then joining and making these objects stand. 42 By junior high, these models will be carried further OafCOPYiiiiAILABLi and brought into a more permanent form witha greater degree of refinement. In the high school art program, sculpture is ex-

panded through subject mater, structure, research, ; ,. .-; r * and methods of casting in more permanent material. 4 It ' - The student who is able to combine the aesthetic with ,, the skills and knowledge of intricate casting may produce a work of art and van credit this accomplishment to a continuing art education. The art teacher must impress upon the student the importance of rhythm and design in three dimensions. The sculpture will be viewed from countless angles and, theretom it is imperative that this fact be considered.The finest sculptures have beauty, feeling, understanding. and rhythm from any vantage point. Materials: Tools Media Knives Plasticine Plaster of Paris Brushes Newspapers Soap Scalp metal Wood Wit;. Pariscraft Paste Styrofoam Fabric Chipboard Stone Common. pins tW Poster paints Aluminum Masking tape plates

Mixing bowls Sieve sr 1. V Liquid rubber Lard ;t . Matchsticks Toothpicks Paper Straws Clay

Mask Making Objectives: Me:hod: An extension of portrait ,Irawing using human !lave students make mask forms by building up the features as a basis for exploring decorative design. form on a board with plastieine or by building up The cultural significance the musk in past and wads Of newspaper and securing in place with tape. present civilizations. In each method, after the form is ready, apply several Materials: layers of wet strips of paper without paste to keep mach Tools Atediti from sticking. Then start applying strips of Scissors Pencils whit,. paper clippedinpasteuntildesiredthicknessis finishes Paper towels paper achieved.After allowing to dry, willow mask Ii nn Knife Modeling, board1,.mpe.,1 form and decorate. Paste brushesVlic.iit paste ..iine ( clay 1 Masking tape Shellac. Acrylic

Crafts Crafts prmide a s!ininlating outlet for the creative Crafts also fill a need for the student who feels ifs- enertj, s 01 the student. Experiences t% ith netv proc- apabli° of irldj ithial expression in other forms of art. , sm.. and materials are particularly interesting to the The threedimesional reality of materials of t.41i oscr- lads%stilt tl.His interest in acquirine tic .v skills. and omes this lack of confident.Successful craft nx- his 11,11 tor finding state' ithin,s group becomes pnlieners develop an awareness that form. color. and factors ti motivation... design operate in areas other than painting and draw-

43 BEST COPTAVAILABLE ing. (:cmtact with three-dimensional design develops an ability to evaluate mrnmercial products which he, as a consumer must learn to make. A student may find as much satisfactioein crafts as in paintings or drawing. The tangible quality of craft material often releases creative expressionin the most inhibited. Controlling the development of form and material brings about confidence anda sense of purposeful achievement. The value of this experience during the emotional stress acid insecurityof ado- lescence is quickly rcrognized. The student may bemore responsive to aesthetic. values in objects he considers to be practical.Design elements become more meaningful if presentedin the !.iria of an object made for the homeor for personal misc.It may be for the first time that the studentis experiencing three-dhnensional design. An outgrowth of this experience could bea keener interest in the form, color. and functional design of all objectsabout

Silversmithing tulles, there is opportunity for growth in skills and techniques. Design As an introduction to metal craft, a brief discussion of metal work, its historical significance. and development at varions cultural levels may be stimulating. Illustrative or %.isnal material, anecdotes, and good examples of professional and student work should be chosen carefully by the instructor. Some time should be spent discussing the properties of iron-ferrous metals and their reactions to treatment. Experienc:. has shown that the student willprogress more rapidly if a notebook is kept in which technical information and proc'e'sses are available for referene. Good attitudes toward craftmanship should he reflected in the proper cart. and Ilse of tools. Techniques and Suggested Problems Jewelry and iarg,er metal workare developed together in this guide by listing snggested projects in tie' order of ti techniqu involvcd.It is expected that the instructor will choose those experiences which will best fit the needs and interests of the student. Theaverage student will complete five or six projects the first Through c.retive experiences in metal craft the stu- semester. det will develop an a%viireness of jihni- A useful glossary and discussion of tools and equip- Mat' Obi .1Nt.1154' of satisfaction resulting from ment van In' /Mild in jercrIni Making by Kenneth a personal expression in materi will encourage par- Winebrenner, pp. 79-8S. ticipation in further creative activity. By mpliasiiing experinientatio... tl student may be encouraged to First Project torn) original ideas, to develop independent thinking Tecittlicities: habits. and to solve his mvii problems arising from his Cutting ( ships ),filing (smoothness and textural ef- work.Ili.%%ill develop respect for tools. materials, fects t, ham)ering. bending, folding, twisting, mutual- and the work of others. For those with special apti- ing. and pulling

44 Demonstrate: BESTCOPY 14:achof the processes should be demonstrated in AVAILABLE addition to the processes used for finishing, suchas, emery cloth and steel wool finishing, buffing, and .o 4. 11,04 . ..111

Suggested Projects: 4t...r.rs I. Paper knifediscuss the weight, balance, size, and AMU C.44,4%. style.liar stock in brass, hardcopper, or bronze is I' the most useful. but 16gauge sheet is suitable for this ilearimws project. 2. EarringsWire and bits of metal, joined bywrap- Ft ping and twisting, may incorporate eithtIr woodor stone. 3.Pins or pendant .These may be made with the same type of materials as the earrings. 1. Bracelets, napkin rings. 5.Shallow trays or bowlsA sandbagor shallow Fourth Project form may be used for this project. Technique: Stone setting, bezel cleveloprient, and seaming. Second Project Techniques: Demonstrate: The use of the burnisher in bezel development,tap- Stake forming, sawing, soldering (soft and hard),and coloring. setting, hinge construction, lap-seaming, dovetailing, and butt-soldering should be shown. Den/mist/We: Suggested Projects: Techniques of forming, using the jeweler'ssaw, soldering. forming, and etching should be demonstrated. 1.Stone settingring, brooch, earrings, buckle,paper knife. The student should give careful consideration Suggested Projects: to the suitability of the design of the mountingas 1.Dish or bowla discussion of the suitability of related to the stone and material being set. shape and function is suggested. The student will 2.Box formplanter, cigarette, or card box, silent find it advisable to draw across section view to de- butler, candy dish, or tray. The primary consideration termine shape and metal size. regarding technique will be joiningor lap-seaming, 2.Flat jewelrytic clip, buckles, pins, brooch,ear- butt-soldering, fitting the bottom, and lid-hinging. rings, cuff.links. pendant, or emblems.Pierced or Fifth Project applied design may he used in this problem. Some Technique: preliminary drawing or cut-paper work is helpful in Link formi.g aid gang soldering. planning a design. Demonstrate: Third Project Chasing repouss6 tools, and theuse of the pitch block Technique: should he demonstrated. Ring shaping Suggested Projects: De monst rate: I.Chain and clasp construction. The use of the r mandrel should be demonstrated 2.Chasing and repoussi. work on suitable projects. to familiarize the student with ring sizing, determining Careful planning of the design isnecessary before r'ng size. and fluting. working on the metal. Sugested Projects: Sixth Project Technique: I.Band ring Applied decoration with wire, cut i and catch construction sheets. decorative. drilling, and piercing may be tried. Forging 2.Formed or shaped pieceshandles. foot, spout,or lid may be planned for a vase, planter, pitcher,or Demonstrate: watering can. Decorative techniques may be included Techniques of forging from bar stock, work hardening. in the design. tempering. and tube drawing should be demonstrated. 45 w-.(ers' saw frames 4" welers' saw frames 6" Kerosene BEST COPYAVAILABLE Lacquer, clear, metal Lacquer thinner Mallets, boxwood (large) Mallets, boxwood (small) Metal snips, 6" Metal snips, 12" 0 4 Pliers, 5" side cutter Pumice or scouring compound a, t; w 02, Sal ammoniac: cleaning and soldering irons Scrub brushes, 4" Scribers Solder:32 and hi Soldering irons Steel squares, 6" x 12" Steel wool, medium and fine Twist drills: Ir to 34" Tripoli compound for buffing White diamond compound for huffing aterialsOutsfde Purchase: Annealing tongs. 18" Asbestos blocks, 6" x 3" x 1"( 1" asbestos strip spiral wound ) I 1 Charcoal blocks, 6" x 3" x 1" Bench pins, hardwood, 8" x 2" x %" V-notch one end, use C-clamp to fasten to bench Bezel mandrel Suggested Projects: Buffs I.Miniature box construction. Brass wire, 6" 2.Unit jewelry. Reproduction of identical parts to Bristle wheels. 2", " form a unified whole should he emphasized. Crates or trite boy: available in 3 grades, various 3.Tiandwrought flatware. shapes for buff or hand use. Good for fast cutting Suggested Activities: where emery cloth is difficult to use. Mobiles, stabiles Felt:hard. square-faced, knife, edge, cone ( Various Simple abstract metal sculpture forms sized cones are useful for buffing inside of rings Simple forming of tray or howl are less apt to cause accidents than emery cones on Tie clips, pin, cuff links, pendants, etc. wooden mandrels ) Stitched muslin, 6" or larger to fit equipment illaterialsWarehouse Item: Stitched flannel, 6" or larger to fit equipment Abrasive cloth: 80 grit, 120 grit, 180 grit Buffing motors( one or more )approx. 1700 r. p. m. Ball peen hammers: 2 and 4 oz. with dial shafts for permanent installation of buffs. Bench vise, small ( itis preferable to have one heavy duty buff for Brushes, small, for applying flux large-metal work and allow quick removal of dif- Carliorundum stone ferent buffs ). C-damps Circle cutter ( not essential ) Center punch File cleaner Combination gas or air torch Files:fiat, round, triangular, half-round in bastard, Prstolite tank and gauge( several terehes may be 2nd cut, mill cut, smooth 10" operated from one tank by proper salving). Flux: resin No. 6 torch tip needed for annealing Hacksaw blades:10", fine No. 1 or No. 2 for small soldering operations Ilacksaw. adjustable ( ;tinder, double shalt. !i h. p. or heavier !land drills Squaring shears. 36" -- 46 -- BEST COPYAVAILABLE Stakes boxes.) Wire form may he cut to 2" length, at- T-shaped raising stakes tached to a labeled ring. Steerhorn Sterilizing solution Beak horn Thickness gauge Seaming Tweezers, soldering Planishing Tweezers, pointed Tray edge Twist drills: sizes 50 and 80 assorted Square. flat Knife edge Bottom, round, 3 sizes Spoon, two sizes Stake holders, assorted for small shaping stakes Stake plate, mounted securely on heavy bench Vise, machinist's heavy duty, securely mounted

MaterialsPermanentInstallation: Pickling equipmentA vatconstructedof wood, painted with asphalt paint, lined with sheet lead, fitted with snug cover is best. A five gallon crock thoroughly coated inside with asphalt, set in a tray similarly treated may he substituted. For small work, a pyrex glass howl set in a lead-lined or acid-proofed trayis more practical. A wooden salad spoon will allow pickling of tiny pieces of metals as the spoon floats in the howl, and is also useful for retrieving work from the bottom. Provision should be made so that pickle vats may be readily cleaned. Bracelet mandrel Draw plateone combination square, round, half- round ( smaller hold about 30 gauge) Draw tongs MaterialsEquipment Outside Purchase: Files, !i round tapered. 6", No. 2, and No. 3 cut Annealing ring, gas fired, permanent installation or Files, needles, set of 12 assorted Annealing pan, sheet metal pan, approximately 20" Flux, borax ( 11a:1(1y-flux, E-2-Flo, Battern's ) Ilanunrsrawhide, raising, plamishing, chasing diameter by 3" deep, filled with lump pumice (bet- Special raising shapes as required ter if mounted to revolve). Hand scraper ( may be made from old triangle file ) Anvil, 80 #, securely mounted Iron binding wire:No. 22 and No. 28 B & S gauge Bench shear, 3" blade, Beverly or equal Mouth blowpipe Box brake, 12" to 16" Old toothbrushes Buffer hood ( may be purchased or made from sheet Pickling compoundSparex No. 2, sulphuric acid (1 metal) part to 12 parts of water is faster but dangerous ) Pickling tongs, copper or bronze References: Pliers, chain nose, 5" The Design of Custom Jewelry, Robert Von Newman; Pliers, round nose, combination, flat nose (satisfactory Chilton Co. substitutes for the chain nose and other shapes may Copper Graft and Silver, Karl and Norma Kramer; he made by filing the jaws or ordinary long nose Chilton Co. pliers Enameling on Metal, Oppi Untracht; Greenberg Pub- Bing clamps, wooden lishers Bing mandrel. calibrated Metaleraft and Jewelry, Enid F. Kronquist; Bennett iiing untalibrated Cabochon Jewelry Making, Arthur & Lucille Sanger; Set ring slit. Bennett Rouge. red or white iciee/ry Atitkini4, D. Kenneth Winebrenner; Interna- Silver soldersthree grades, sheet form ( better color tional Textbook Co. match than %vire form )Witter useful for large llanthrou;:ht Jewelry, I.ois Franks; \fel:1144M & Mc- work.PI (Tilt into small snippets, keep in labeled Knight

47 -- BEST COPY Enameling AVAILABLE Objectives: Enameling offers exceptional opportunities for the Working with glazes. metals, and other newmate- study of color and design ina medium that is appeal- rials often develops interest in related crafts. ing to the student. Materials: Individual expression is stimulated througha variety of colors and design possibilities. Tools Abrasive cloth Carborundum stone Brushes Jewelers' saws, frames, Files and blades Lacquer Pumice Metal snips Steel wool Palette knife Twist drill and bits a*. Vise Kiln Buffer Asbestos gloves 4 Asbestos blocks Enameling fork Atomizer Gum tragacanth Enameling rich Jewelry findings Jewelry cement Needle files Jewelers' pliers Pickling compound Pattern snips Screen cloth, 60 mesh or Since enameling does not lend itself to imitative Rawhide mallet nylon stockh,g Silver solder Tweezers realism. the student is encouraged to work creatively Torch Sheet metal ( 18 gauge) with color and abstract design. Tongs Soldering flux The flexibility of enameling techniques makes this Soft sheet copper- craft adaptable to the needs of each student. 20 gauge (24 oz.) dtedta The beginner finds the confidence through success 18 gauge (32 oz. ) Enamel with basic methods, while the advanced student finds Ball peen hammer stimulating processes to meet his widening interests Suggested Projects: and abilities. Flat pictures (sma" blocks or large sheets)

Copper Enameling

Suggested Projects: Excess enamel can be caught and r, 'Aimed to the Earrings Tie clasp Plaque container if a clean sheet of paper is placed under Pins Buttons Ash tray the article being dusted. Pendants Napkin rings Cuff links Experience will enable the student to determine Bowls Bracelets Belt buckle the exact thickness for the layer of enamel. Demon- References: strate how colors can be blended. edges darkened, lewelry Making as an Art Expression, Chilton Pub- and lumps and threads added for special effects. A sample tile should be fired both in the kiln and lishers Copperraft and Silver, Karl and Norma Kramer; with a torch to show how enamels fuse. The latter Chilton Publishers method will afford the student a better view of the process. To avoid damage to the project, have the Enameling on Metal, Oppi Untracht; Greenberg Pub- student allow time for the piece to dry before firing. lishers After the first firing, show the student how stencils, Tee/ink' nes: overglaze. and sgraffito can be used to create designed The Limoges technique is Lest suited for most ex- effects. Counter-enameling may be demonstrated but perienced with this medium. A variety of methods beginners should not be expected to attempt the are satisfactory for applying the enamel but -dusting" process. is one of the least demanding of time and skill for the Demonstrate the steps involved in finishing enam- beginner. eled wire. Gum tragaranth can be brushed or sprayed on the Scale may he removed with steel wool and edges copper prior to dusting on enamel. Only spraying can finished with a wet carborundum stone. The stone he used if several layers of enamel are applied on the should be used in a horizontal direction to avoid unfired piece. chipping the enameled surface.Findings may be -- 48 -- BEST COPY AVAVLABLE soldered or cemented into place. The brightness of t the exposed copper surfaces can be protected with a coat Of lacquer. Champ cloisonm% or plique-a-jour are tech- ittio, niqusNI II laV he tried bv advanced students. t NOTE- -Smallglassbottles with removable(it)mesh _AiatirireaV screen t ups make excellent containers for dusting enamels. cc. .r, N - Emphasis: tom. Understanding useoftransparentand opaque 01 141 colors. . 4,4OP A Nanning shapes ( cutting and filing) (leaning Understanding various enameling techniques (sgraffito, chaniplevi".. stenciling. dry sift. slush, etc. Understanding firing lmnedture. Understanding reasons for enameled objects crack- ing. cooling too rapidly. dirty enamel, dirty copper, enamel too heavy for weight of copper. . Finishing and soldering After cutting the metal, it should be pounded flat Facilitiesfor firing and equipment required for with a rawhide mallet. The vise, pliers, and metal forming metal will limit the dimensions and type of forms may he used to bend or curve the metal shapes. project, Within these limitations, however, the scope Forms may be helpful in some processes; for example, of the course can be varied and stimulating. in turning tlae sides on a small box or pin. This illustration is used to clarify the term "metal form" to avoid Cutting, Shaping, and Cleaning Copper confusing it with mechanical copying. cut-paper is a owlmethod for planning designs, for When finishing with files, the student may find it shapes can he developed and refined quickly. After helpful to leave the metal burr raised slightly on the side to be enameled. This will hold the unfired parti- the di sign has been chosen, it can 1w cemented to the cles of glaze in place until the firing is completed. metal to guide cutting. The design will determine the Thinly enameled edges which show up as black lines tools for the cutting. may be avoided this way. It is necessary to remind the student repeatedly that 1111111111"IrA--C A. cleaning is one of the most important steps in success- 1-,,. - :7-.;59,----6,0- ms 4. ful enameling. 4* ... ..s,4 'A If pickling solutions are used, safety precautions should be observed. Some teachers have found a vigorous cleaning with steel wool and detergent to be . ro 4161114s.ar11111 effective.Pickling could be :eserved for those processes which require a brighter metal.

Object iurs: To acquaint the students with enameling history, 40, its use commercially, and its value as a craft. ,,..A. .;--tikk;. .. . to. A lt,r.,,, To arouse interest in the various techniques of enameling and to stimulate interest in working with color. To gain knowledge and skills in handling the tools and equipment used in enameling. The beginner will have more success in cutting To learn about firing procedures. straight-sided shapes with metalsnips.Likewise, enameling can he accomplished more easily on a fiat 1)esign surface than on ili4olar or orvcd swim... As skills If design is to become a creative experience, it should are gained, more complex designs may he aitempted. he developed through an exploration and understand- 49 MST COPYAVAILIWIE ing of material. When it is taughtas an abstract con- After experimentation with materials,a block of cept, separated from need and experience, it may time should be set aside fora consideration of design develop imitativeness anduncertainty.Because of and its application. Most of the projects will be the student's immediate con- interest is in starting work cerned with two-dimensional shape and surfaceen- with a new and exciting craftmaterial, he is likely to richment. While means for teaching design will be impatient with vary a formal consideration of design. between grade levels, certain fundamentalsmay be Expern nentation witha small tilt. and a few enamels considered as universal, Each design should exhibit should follow a brief demonstration of the enamel' a successful relationship of shape or form to function, process. Design will he expressed intuitively through construction, and decoration. choice of colors andarrangements. The finished tiles The beginning studentmay study shape through could become the subject fora meaningful class dis- free brush or cut-paper exercises, while color cussion of design and technique. A combina- Teference chart tions can be explored with transparentor opaque might be made from these tiles. Throhoutthe term new samples could be added as interesting techniques watercolor. Spattering, stenciling, and minglinggive are tried. the student practice with techniques thatare adaptable to enameled design. To avoid burdening the studentwith technical The advanced student problems, materials should be limitedand techniques should be encouraged to try decorative designsWhich simplified. For example, the metal tilescould be pre- may be used for sgrafflto, overglaze, or cloisonn6. cut and the enamels could be restrictedto opaque When working ina new material, the student needs colors. Threads and lumps of enameladd interest and guidance in relating design to his skill in theuse of variety. tools. Problems frequently arise whena familiar ma- Thougn accidental effectsare interesting and often terial is used for planninga design to be executed in suggest new techniques, the student shouldstrive for an unfamiliar process. Frequent demonstrations in the control of the medium. use of tools should be helpful to the student.

Glass: SlumpingLaminatingJeweling To learn how to fire glass for the various techniques to be used. Materials: Tools Media Hand cutter Glassbottle glass 4.% Lubricants for cutting picture Padding (cork or firm window (single) carpeting) window (double) Class cleaner textured Clean rags ;14i plate Abrasive stone industrial 144, stained Graphite glass pencils di 4- NVbiting Materials for lamination 3/4* 41, Copper enamels Underglaze

,^14611111' Metals ..WIAS711,11114% Fiberglass Mica Wide-jawed pliers ()bietires: Kilnenameling ceramic To gain knowledge about glass. its history, itscom- \foldsTerra cotta position. awl the modem processing of glass. Fire brick Tu iwcomf adept at handling glass and the tools Cvicepts: whit It have to do with glass craft t'uderstanding the varioustbarcteristies ofsheet To understand glass, its potential and its limitations glass. as it material fur crafts. Firing procedures To make designed projects In ihnit.r, the sari Vitkile, molds on,'tee illinpless11111as Lumn:tting. and Separators iit%eling !low to cut ('lass proper].

50 --- SESTCopy Lamination Blanks for decorating purposes Slumping Suspensions Jeweling Panels Making wire extensions Standing objects Various decorating techniques Lamps Adhering glass to other materials such as clay Jewelry (all types) Trivets (glass fired between cast iron edges) Suggested Projects: Paper weights Bowls Christmas ornaments Dishes Various projects where glass is adhered to clay GlassFusionand Lamination Working Knowledge: Ti design and vent marinite heals for glass pimples. Ihisigoing templates To work with opaque and transparent colors on glass. Forming lead shape To criate texture within glass using compatible ma- Casting lead shape in refractory materials terials. Cutting glass Fusion of glass Suggested Poje('ts: Lamination of glass To design. him. cast, cut glass. decorate glass tray. To illustrate pictorial theme in a glass laminated creme jewelry hy utilizing glass scraps. plaque To make a laminated glass bowl. Concepts: 'I'n write a report tri each project. The fitting of the decoration on transparent plane. I )(sign pictorial glass plaque with bick-lighting effect. The functional aspect Of the foot rise to form. Design pictorial glass plaque and frame for reflected The use of heat in slumping and annealing glass. light effect.

Plaster It'(wking Knott:ledge: spiny finish fur antral (Ivo. (:imstrution Of complex form Tempera and wax finish for patina. The piercing of plaus in form N'arMus methials of decorating plaster sculpture Suggested Projects: (:otter))/s: (:(Implex single theme of figure or animal image. Preplanning for colon)l of cinnplex statements. A non nbjei !ix e exploration of atplaster foul, with Use 01 tools for piercing planes and creating texture. texture and piercingtechuli1iu

Stained Glass (thiertire.v: To learn about historic cannibal To stimulate interest in the effects 11 fight through tiansparent colors and to xxolk nut designs accord

To gain skillin cutting and joining glass pieces.

ss and rations India ink ( I u- mil ( ;1.111110r clittr (;ten-sa plc( .11014)11 .0,.11111t tat. aidair...jam, ilvf, 1' ap,,. 1,H 'At it lot %

-- 51 Concepts: Suggested Projects: Planning design ( emphasis on color effects) Panels (standing or hanging) Making cartoon (simplicity, avoid complicated color Lamp bases mixtures Divide motif into segments Trays Overlay glass on cartoon Candle holders Cutting (safety factors) Suspensions 1.0014$ Leading Wind chimes Cleaning 0fift Finishing

Etchingon Glass

Objectives: To be able to recognize well designed commercial To learn through a simpleprocess a professional objects. skill To relate the stencil process to another craft. To understand and appreciate other methods of To become aware of leisure time possibilities. iching. Materials.: Tools Media Razor blades Etching cream Masking tape Aluminum foil Tracing paper Glass object Hard lead pencil-stylus Concepts: :41 Planning and tracing design Transferring 44 +fp. Cutting stencil c. A51;,, , Masking Application of etchingcream Cleaning

!ft Suggested Projects: 41111111111. X ata is Glasses Dishes Pam is Trays Suspensions .4) ? V I( References: Glass craft, Kay Kincy; Chilton Publishers The Technkme of Stained Cams, Patrick Reyntiens; Watson-Guptill

Mosaics ()bjeet res: The ability to create an interesting design using To provide an opportunity for individual or group small pieces of glass, clay, seeds, paper, wood, stone, work. adhered to a background. To promote interest in mosaics, their relationship to Development of an appreciation of color and tex- past cultures. and their revival as a contemporary ture. art form. Materials: Tools Media Skill of cutting and placing pieces. Tile cutters Glass tesserae Finishing. Glass cutters Many varieties of glazed or unglazed ceramic tile (bought or handmade) Suggested Projects: Glass ( transparent or opaque) Designing Panels (plywood or masonite) Cutting and arranging mosaic pieces Grout (cement for things needing firmer support) Grouting techniques Adhesives (magnesite, miracle Croup murals for school or community adhesive, Elmer's glue) Mosaic sculpture Pieces of various colored wood Series of related panels Shells Paper Individual mosaics Different colorful pieces of scrap Portraits Stones Pebbles Figure compositions Broken bottles Dishes Plastic Linoleum Abstract and geometric designs Buttons Beads Trays, tables, etc. Seeds Concepts: References. Understanding range of color, texture, and materials Mosaic Patterns. Edwin Hendrickson; hills & Wang which can be used as a mosaic. Publishers Planning according to material used and its future Mosaic Hobby and Art, Edwin Hendrickson; Hills & environment. Wang Publishers

Wood

Objectives: A 4 To learn about wood, its natural beauty, its potential for crafts. 4 To recognize good design in wood and make intelligent and sensitive selections as consumers. To gain knowledge of how wood is used in other areas, such as architecture and interior design. Materials: Toots Media Wood carving G or C clamps Wood tools Power drill pine Oil stone Chisels basswood Stains Sandpaper redwood Mallet Paints balsa Nails. screws, Saws Philippine tacks, etc. Sander mahogany Square ( vibrating) Wood scraps Adhesives Plane Oils for finishing Surface plane Varnish round andflat) Selection of wood appropriate to scale and idea Working knowledge of graining of woods Working knowledge: Proper safety precautions ( tools, safety mask) Understanding the various tools and their uses, care, Understanding basic joints sharpening, and safety. Working with properly dried wood Knowledge of different types of woods. Various methods of finishing woods Planning steps necessary for control in working with wood. Suggested Projects: Lamination Of woods. mot for basic cutting skills Project in soft wood to study grain characteristics Concepts: Hardwood project which is developed within the indi Planning design of object and approach vidual's creative interest

5:3 BEST COPY Wood in conjunctionwith other materials (suchas References: AVAILABLE silver, copper. etc.) Various projects The Art of Wood Carving, John Upton; Van Nostrand Wood Design, Donald NViPc.ox: Watson-0:01 Bowls Mobiles and stabiles Trays Carvings Wooden Images, Norman and .Jones; Reinholt Frames Animals Creative Wood Design, Ernst Rottger; Reinholt Wall hangings Figures Wood Carvings for Beginners, C. Graveney; Reinholt jewelry Masks Wooden Images, Laliberte and Jones; Reinholt

Leather Object ircs: Media To acquaint the student with leather,its source and Leather such as cowhideor steerhide in various preparations for use, its use in industry, and its weights for various crafts purposes. possi- Lacing ( leather) Rivets bilities and limitations for craft projects. Snaps Dye To learn the history of leathercrat from ancient Neat lac Leather finishers times to present. Leather cleaner Saddle soap To gain knowledge about leather tools and howto Concepts: use them. Natural beauty of leather To provide possible leisure time activities. Design should enhance, not detract fromnatural To understand and recognize the various tech- beauty of leather niques of decorating leather. Correct laying-out and cutting of leather To stimulateinterest in buying wisely and intelli- Correct care and handling of tools gently. Constrution of project Finishing AIaterials: Suggested Projects: Tools Book marks Coin purses Skivers Modeling toolsSwivel knife I.uggage tags Key cases Awl Revolving punch Sponge Belts Box coverings Dye Neat lac Templates Jewelry Classes ease mallets Oblong punch Edge erasers References: Steel square (various sizes)Leather shears Prong chisels 1 Acing needles lIardwood blocks Applied Leathercraft, Chris Croveinun: Manual Arts Snap setter Press The Textile Arts Working with Fabrics, Yarn, Thread Objectives.: 1.0) discover the rich heritage of textile arts. To understand and appreciate color and texture, to explore the possibilities of combining. arranging. and decorating these materials. To encourage good craftsmanship and intelligent consumer buying. To combili line( %aro Iand form (cloth) in a creatie way. To foster an interestin a specific area such as reaving. appligtu% or stitrilvIV. .1fair Tools Mrdia !moms Herd Farling I rame Least sticks Yarns Drawing-in-hooks N\ fon stockings Shuttles fittings 54 Concepts: Working Without a Loom: Texture and color Finger weaving Various type looms Cigar box weaving Basic weaves Tongue depressor weaving Planning warps and correct tensions Cardboard weaving Structure of cloth Spool weaving Suggested Projects:

\Luella! for BESTCOPY Runnrs AVAILABLE Nile:books Mats

Stitchery and Fabrics thier I it' es: The ability to arrange and combine various stitches to torn) a design or pattern in yarn, threads, and colors on a textile background. An appreciation of the rich heritage of textile arts f rom past to present. To encourage good craftsmanship :d intelligent consumer buying. To explore leisure time possibilities. ,If aterkils: Tools edia Needles Background material Scissors Burlap Drill or duck Stretcher Monk's clothHard woven fabric Felt Linen Various yarns, twine, ropes E mphasis: Linear stitchesvarying width and sites Groups of stitches next to each other to build texture, pattern. and color ( varying yarns Basic stitches e,rhih need to he Mastered Planning design Neatness Of work (sewing technique) I' inilhing Muralone or group using central theme Pocketbooks or bags Suggested Projects: Pillow covers hidividal %van hangings with various textures Scarves Wall hangings using geometrical pattern. abstract pat- Wall hanging combining stithery, appliqa., and trn, semi-abstract design hooking

Textile Decorating )i)jectit'es: Stenciling To learn to enhance fabric, })emplo% ing various Objectives: printing and dyeing telunipies. To eslor different methods of printing on fabric. To gain relationships Of stenciling to the industry To inalerstanclthe important rolefabric's have of textile designing. plard iii history. To gain knowledge about one of the mine common To appreciate the role of printed fabric. in method, of duplicating. Tit it 1.110%Victigt of the vitriol', tools and inate- To explore the possibilities of stenciling (using both Hid, tee prnoing process. positive and negative methods).

55 '"""'" BEST COPY AVAILABLE To enhance paperor fabric for some functional A knowledge of the origin of batik and the strong purpose. influence it has had on textile design. Printing by using stencilscan be used to emphasize An increasing ability to make use of the fluid nature the principals of good design andcomposition. of design possible with this technique.

.11 at erials: Materials: Tools Media Tools Atedla Spray gun Stencil paper Inks or paint Stencil knives Brushes Beeswax and paraffin Thumb tacks (water/oil) I lot plate Tjan-tung (optional) Stencil brushes Extender Cardboard Fabric Granite pans Frame for stretching cloth Textile paints Wooden spoon Newspaper lIeavy paper Chic iron Thinner Cold water dye Tempera ironing board Fabric (nnbleached muslin, Backing for attaching fabric silk pongee. cotton, batiste, and handkerchief . linen ) Study and Discuss: Alrf,..A,,,,,,,,..,,,,hv.:,,,,,...xl&, Japanese method of batik -.7 ,Suggested Projects: i.f....l Wit4 I s.._. 131V4 # 4. Table mats Cv 4 ar Book co, .irs 40:, Tray cloths Head scarfs " Wail hangings Ties References: Introducing Batik, Evelyn Samuel; Watson-Cuptill Creative Textile Design, Rolf Hartung; Watson-Cuptill More Creative Textile Design, Rolf I butting; Reinhold Design on Fabrics, Meda Johnston, Glen Kaufman; Concepts: Reinhold Color studyeffect of mixtures, shading,etc. Batik: Art and Craft, Nik Kravinsky; Reinhold Planning design (simplicity) Textile Printing and Design, Nora Proud; Reinhold Amount of paint to be usedfor brushingor spraying Fabric Printing by Hand, Stephen Russ; 'Watson- Cutting stencils Cuptill Cleaning (brushes, stencils, etc.) Finishingheat application on fabrics tomake paint permanent. Tie-Dyeing Object/1'es: Suggested Projects: The ability to hand decorate a fabric using this Fabrics technique. Wall hangings An appreciation for good craftsmanship. Place mats Experiment With: Table cloths The three varieties of tie-dye pattern Skirts Rosette Scarves Broad stripe Runners Fine print Greeting cards Wrapping paper Materials: Stationery Tools Media Book covers Hot plate Several weights of thread, twine, and Borders. frames, etc. Wood stirring cord (plumber's cord or lampwick) stick Fabrics Glass containe Silk Boilable dye Batik si)kl chiffonI landkerchief Objectires: Georgette linen Au understanding of the batik process and the Percale Batiste Muslin Solt viscose ability to decorate a fabric using it rayon 56 -- BEST COPY AVAILABLE Applique ()Neel ives: To create textile designs by fastening cut out pieces of fabric Onto a background of fabric. Pa st 111 To gain appreciation of the American Folk Art in this medium. :13 To combine line and form (threador yarn and cloth) in a creative way. To appreciate good hand-ade consumer goody. Materials: Tools Media Needles Background fabrics Scissors Scrap materials of various colors ,r Various colored threads and yarns Felt Clue Other scrap materials whichcan he 4' added for decoration such as beads, sequins, etc. 7.- 1 Emphasis: _...:*111111111 Planning of designs [.coming basic stitches Coming experience Arrangernent of pieces against background Finishing .1'0111etric patterns on fabric. Nonojective textural studio's. Suggested Projects: (;ronp murals cc ntered about a particular subject. Wall hangings %Oh subject matter and color schemes h: ngings that combine stitcher), with the art of suggested by nature.

Netting and Macrame Knotting

To :'cc umulate knowledge about various techniques of knotting. Tools Aledia Small press gauge Strong threads and yarns Netting needle Pins Firm background for stretching (frame) I.cather strips Pegs ( woodeii)

1: tuhlutsi.ti: Tiunderstand the variousmethods i filet network Looped lacing Stretching Crossed threads Stitching Cording Twisted rope Plait Looped rope I low to make accessories

Objectives: Str,,gested l'rojtA: Shopping hats Cording To stimulate interest in an ancient craft. I tndbags Mat To understand how a craft can start as a necessity Scarfs Pot holders mod beconne flpeorative. Stulcs Plum' Rug Hooking

Objectives: To gain appreciation of color, texture, and pattern as combined with the craftsmanship of hooking various materials to a hacking. As future consumers to become intelligent about selecting and buying handmade goods. Materials: Tools Alan(' Rug hooks Hug yarn Yarn cutters Hug hacking Frames Wool scraps Scissors Suggested Projects: Bugs Mats Wall hangings Sets of samples Proir.cts using a combination of these processes Non-objective textural studies

Weaving Objectives: p. "at JIIIMIIMEGA*-41111/ Student to rely on his own judgment and to find IIP confidence. To develop sensitivity to color and texture. 1::1* itZ-4 To learn the basic techniques of weaving. To apply this knowledge to individual projects in a creative way. To develop understandir% and appreciationof weaving through its history. To understand the relationship of hand-weaving to TriPP1/4' industry. .-'7.1.11111111111111.". To develop skills inthe proper useof weaving equipment. Materials: Tools M "ilia flow to use warping frame. Sewing machine Yarns ( various colors and Know the basic weaves '6). Looms teYtures) Correct tes.sion. Mat Scraps ( scraps that can be flow to plan for finished project ( such as four place- -2 harness used in weaving) -4 harness Cloth ats done at one time on the loom). -S harness heed Huishing. Drawing-in-hooks Leather and plastic lacing Ink le looms Nylon stockings Suggested Projects: Friime looms Set up samples ( six basic weaves) Cardboardloom weaving Wall hangings 'arping frame Material for hags. ponchos, scarfs. etc. Shuttles I.aw sticks Rugs Tapcstiv Co lierptS: itva and (idler knotting techniques I .hticr.t.tlitiim;tilt- tt (1,14,rto texture. Cigar box %veaving I law to thread various types of looms. Finger weaving 58 -- Ceramics BEST COPY AVAILABLE Few crafts have the universal appeal of ceramief, This medium offers every student, regardless of his 4 previous art experiences, the satisfaction of creating sotnething original and useful. The plasticity of clay encourages experimentation and provided impetus for VA' the student's imagination.Basic skillsare quickly ;14,1-- grasped and a feeling ofonfidenoe grows through flif knowledge that an unsuccessful form can be changed easily. fe- Ni Freqoth the indent %On) ft 1I' a lark in artistic talent disoycis he ;5 designing freely in forms, tex- 010111111. tures. and colors.lie canse of these qualities. ceramics --"glinom__ makes an especially good craft experience for the non- art major and the student interested in a single art experience. The unlimited scope for experimentation with form and decoration challenges the skill of the advanced ik; student. Vat vialsWarehouse lion. Aft/ter/a/v.Outside Purchbse: Brushes Earth( ;mare crocks, Decorating wheel Pyrometric cones Buckets 1 gallon and 5 gallon Engohes Slip tracer Clay, red \trickling tools Finishing rubber, kidneySponges Clay, white Oil cloth shapes Stilts Dish pans Hags Kiln wash Turning tools Bolling pins Knives, fettling Utulerglaze Send) brushes Plastic material

I. DESIGN' NO.FE; The student may be introduced to this craft with a visualization of the term Hand aulpture of "a hamlet CEBAM ICS. Ile may have only a vague conception of the meaning of this word. is made with the hands only. Work from previous semesters, professional examples of good pottery, and using a 1111111) of day the size of samples of the tools and raw materials of the craft will help to create an under- a hasehall.Itis not worked on standing, Visual aid material could be used to supplement these examples and a flat surface or stand so that a list for reference has been included. when completed,itis an ail- Because good design recognives the unique properties of a material, intro- strati.free-standingpieceof senlpture.It should be worked ductory craft experiences should provide for exploration. Mixing and wedging withbothhands,developing the clay will help acquaint the student with some of its physical characteristics. forms which emerge as a result !land sculpture eau achieve two important objectives. First. the manipulation of pressing and squeezing. of clay to disclose the working properties of the material and second, theaware- ness of basic volume relationships. Through experimentation, the student will find those forms best suited to the material. Mony of the basic, working methods used with clay will be discovered through hand sculpture.

!'reject: Plaster 1'1;1014 hats Villgin'.; hoard %Von( lt.ttli1)5. ' x 15" for rollint; flat clay slabs 1-.1pifinnritt:

Patter's Mice! 39 -- BEST COPY AVAILABLE II. HAND -BUILT POTTERY Hand-built ceramics should lead the student toward control of themedium. The free, intuitive forms of hand sculpture lend themselvesto slab, strip, and coil NOTE: methods. The teacher should demonstrate each of these techniques.These The student may develop both methods can he adapted to the needs of the seventh grade beginneror the an historical interest and an ap- twelfth grade art major. With the development of basic skills, thevariety of preciation of ceramics producell articles which can be made is unlimited. However, thesire of the student piece by primitive cultures using; must be limited according to the available kiln sine.These basic skills are: ilar hand-built techniques. I. To prepare original patterns and templatesas needed in the construction of 111trrican Indian pottery may slab or coil pottery. %cr.( a, .111 eaitiple. 2. To roll an even coil or slab of clay. 3. To join slabs or coils through careful scoring and joining withslip. 4. To dsigo and construct well-formed handles, knobs,or other appendages, and 5. To emphasize form and structure through surface enrichment.

MN.

Sap,!:rsted ProjIN for Iland-Imilt Ceramics This listis not to be considered comprehensive. The teacher should discuss possible projects. listing themon the blackboard for reference. Al..vays work in NOTE: a reasonable size limit. (:oil piet'es111.1y ha.trit1111111 1)11 alai, the wheel if desired.Ilowevvr Travretangolar. triangular, or squaw this shouldnailtake the plate . Box xitli coverincised or carved monogram the experiherofthrovilitt . Bowls ()IIthe wheel.it%hind('lay 1. Salt and pepper shakers pi) Udell outtil.ltter41)11'. ran 1. Teapots :IS:iniiiterrstitatciel oratie fi.Freform plates or shallow bowls for floating flowers 7.Vases S.Tiles rnet}'ocl- 1. with cover. . jogs 3.prattles Ctr:ttli ;tud sugar 71 (*.oil ulpturi. III. WIIEEL-TIIROWNIknTERy BEST ICY AYMIABLE

;1'AP-fr. While the student should be acquainted with the technique of working on the wheel, stress should not be placed upon its mastery. The degree of skill and practice needed to become proficient may be beyond the scope of the course. After throwing has been demonstrated by the teacher, work on the wheel should he determined on the basis of individual interest. The student should have an understanding of the following: 1.Centering 2. Opening the day mass 3.Forming a cylinder . Shaping 5. Trimming the top and cutting the foot Knowledge of good proportion and functional design must be considered at all times. Experimentation with a variety of shapes from tall bottles to shallow plates should be encouraged.Spouts, handles, lids, and similar appendages should be studied for form and construction.

Suggested Projects for Wheel-Thrown Pottery

' "I.,1 Bowis . ,fsit .e rugswith pulled handles and spouts Plates Casserole with cover

A Tea or coffee pot tiottles

/V. MODEL/NG The student often finds great satisfaction in clay modeling. The adolescent's interest in the representation of the htnnan figure finds a natural outlet in this activity.This experience may be correlated with previous three-dimensional work, such as mask-making, puppetry, or design.Realistic or abstract subject matter may be chosen depending upon the student's interest. but certain technical and aesthetic limitations must be stressed. Those described below may serve as an outline. 1.Clay should be heavily grogged to prevent warpage. 2.Coil or slab methods may be used to construct abstract or realistic sculpture. 3. No armature can be used to support the sculpture if itis to be fired. . Large pieces must he hollowed out.About ');" should be the maximum thickness of the walls. 5.Sculpture should be designed in relation to the characteristics of the material.

(:L.kzi.N(..; (lazing and decorating the bisque ware can be an exciting adventure. The trans- formation which the glazed %vane undergoes upon firing always stirs the student's NOTE: imagination.Charts and glare tiles will help create an understanding of the glazes should be tried on mativ terms and techniques related to ceramic decoration.At first.it mar be sitinpfe chips. These chips may Wise to limit the choice of .teeliniques to a. few. For example. engobes. ss.traffito. he tied about the neck of the and a transparent glass offers a variety of possibilities and enables time student corresponding glazebottleor to thorinighlv understand one process. they may he kept tied together. The student should understand w hat constitutes a 141.1/e. the functions it !NT- Lich chipshouldhavethe forms atici its correct application to bisque or green %%arc.Sonic areas for es- name and number of the glaze ploratioti might itrepresents inscribed on the 1. Faii.tohcs. or colored slips, combined with sgraffito. back. Glazes combined for mingling. fusion. or jewel effects. :3. l'ildentlaze or overglaze designs. 1. Shp trailing and wax resist design. 5.Interplay of glazed and unglazed surfaces.

1. ST.1CK/.\'(;.1.VO F1/1/.\T; Ki/..V A basic knowledge of the tvorkitel, of the kilo and pruccdtire for stacking should he part of the course requirement. The bcv,imling shtcicttt shmlid he expected to stack the kiln for a bisque firing at least once during the snowier. Stakilw. for at.tlaze firing might be performed ley advanced students w ith the teacher's

_61 Some Faults That Show Up After Glaze Firing: 1.Pin holes VW VMM This may be caused by air holes in the day. 11"f.t 2. Rough surface If a coating of glaze is applied too lightly, a rough surface may result. It may be corrected by warming the piece on a radiator and re-glazing. 3.Blistering If a glaze is applied too heavily or if it is fired above its recommended temperature, blistering may occur. The piece should be refired at a lower temperature and slower speed. 4.Running Firing above the recommended cone for a glaze may produce running. 5. Crawling Crawling may he caused by either underfiring or the presence of dust on the bisque at the time of glazing. The student should lightly sponge the piece to remove the dust. This condition can be corrected with re-glazing and re-firing. 6. Crazing Graz`--(4 is an indication that the glaze and clay body do not fit.It is caused by th;laze contracting more than the clay. References: CerainiGlen Nelson; Holt, Rinehart, Winston I land Built Pottery, Joseph Drum; International Com- Pottery Form and Expression, Margarite Wilden- pany. hein; Reinhold Stoneware and Porcelain, Daniel Rodes; Chilton Com- pany. Clay Objectives: To acquaint the student with the properties and limitations of clay. To foster an appreciation of the history of clay, 4 and of well-designed clay objects. To afford an opportunity to learn about the various materials and equipment used in working with clay. To interest the student in the wide use of clay in industry and to aid him in makingwise consumer choices. Materials: Tools Clay modeling tools Cones Plastic hags Stilts Scrapers Bench whirlers Ticking or canvas Fettling knives Posts Rolling pins Thickness sticks Kiln Sponges Kiln shelves Clay bins Potter's wheel Wedging board Claws and glaze application Atedia Decorating techniques such as surface enrichment, Clay Engobes underglaze decoration, etc. Glazes Deoration if used should enhance the basic form Firing procedure U'orkiug Know/edge: The importance of a design appropriate to the material Suggested Projects: Wedging Pinch pot Jewelry Proper handling and preparation of clay to achieve Coil pottery Free-form pieces best results Slab building Bas-relief Sculpture Experimental samples I laud-building methods such as pinching, coiling, and Tiles slab construction Mosaics ( sec art section for materials ) -- 62 BEST COPYAVAILABLE

Ceramics I I" Working Knowledge: Clayits properties, qualities ofvarious clay bodies, and the various states of clay. Ceramic ilnthe firing of clay bodiesin kiln to make t bisqueware, to "fit" engobe,or glaze decoration on bisqueware. Emphasis: Understanding the possibilities and limitationsin working with clay in various statesplastic,bone .111 dry, bisque. t' Suitability of applied decorationto design and purpose of a piece. Understanding the ceramic kiln and its controlpoints, proper loading of kiln for greenware and glazed ware. Learning to remedycommon defects in firing. Suggested Projects: Construct simple forms using basic hand forming tech- niquespinch, coil, slab. Keep journal on all firings ...... and materials used in projects. 4 ...rat . sit 4.111 Demonstration of application techniques. dpi14T Application of suitable techniques to each piece. :it.noia_kw. Have students experience loading kiln. Have students operate temperature controls during Emphasis: bring. Development of skill in the control of clayon the Have students compile descriptive glossary of ceramic wheelcentering, hollowing, and pullingup the terms. clay. To write a report on each project. Suggested Projects: The Potter's Wheel 1. Throwing of basic shapes Working Knowledge: 2. Turning Learning to throw and finish pieceson the potter's 3. Attaching of handles and shaping of spouts wheel. Background and Appreciation: Demonstration by instructor ,.*; 4.44411 Films if possible Mold Making and Casting : :i41°tch t 444 Working Knowledge: I 4' ;St: .44,1, Making of a mold from a well-designed piece by the , . student. I 61 Emphasis: I . " - 1. Good craftsmanshipcare andaccuracy in the preparation of the me ',.1 and in theuse of plaster. 2.Mold making usinLAnd. Suggested Projects: 1.Making of one and two piece molds. 2.Making of a press mold. 3.Making of a sand mold. 4. Casting of the above. Background and Appreciation: 4;4 40, 4144,401,.. Demonstration by instructor Films 63-- BEST COPYUNABLE

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Firing Ceram:, Ware 3.Learning to remedy common defects in firing. Wurking Know/ edge: Le:tilling to apply rules of safety. Firing day bodies in the kiln to make bisqueware or Suggested Projects: to "fi t" engobe or glaze decorations On bisqueWart'. 1. Give students experience in loading the kiln. 2.ilave students operate temperature controls during the firing. 1. *1.(11(Iiiii.; the ;I.I low to load greenware Background mu! Appreciation: b.flow to load glazed ware Study of the parts of the kiln and how 't operates. 2.Learning, the totalities of %.aious clay bodiesand Study Of various methods. old andnew, employed in %% hat happens whets they are fired. firing ceramic ware.

Ceramics ObieCtire.N: Ivorking titioih.,./f4e: .1.11 11)11S1' Waking.:he.uttifully designed ('rup;:ratioll I mixing and %vedging, clay) ilVIV.Ire or sculpture %vith an understanding 14 the Preparing and understanding methods of glaze appli- relationship of texture and form design. catioubrushing. (lipping, spraying, or pouring To acquaint students%% ithclay through under- Learning of basic methods of making clay objects standing itssources,itsrelationship to history.its draplg. slab, prssing, pinching, (qv. pled rtri.Ilit% itl fait. .lull its rim in Correct lisc of the potter's wheel. II) acquaint stwiciits %%Ail the tool. equipment, I ((AY to st ;ak and fine a kiln. Ilmv to make a plaster mold. and %atotis techniques in% ',lye(' ill %%oiling %yid' clay Various deoratiug techuitots-- %graffito.incising, .111.1 :dazes. tt% eats mg. slip ellgobe spliggoig. btitlittg. To agniti t!laieN glaring. How to slip east. "reolperattirrs of firing stoneware and catitoiwant days. \Imiclim; tools 1Vcd,..ting, board kiln Sinzw..sluti Projects: Thickness sticks Pt dol..% M.11.1- p) itcry ( fettling) (:lav bins lstorage fur clay) Cain inctholl l:lav (varimis kinds suchScrapers as artliciivare. stone-Sponges Potter s IA hill ware. etc. I Tickling SIA 111011(1d fictichvhirlers pj,,,tie cloth and hags MA. .1 Pkisti "")!Ii .111(1 di!) (151 Rolling pins 1)1'Ni:tit a functional project %vitich combitt.% Vatit/IIS Kiln furniture shelves, shelf slipports, stilts, triangles teelulieinl \ BEST COPYAVAII.ARLE Create a sculpture Make pots with texture (multiple pots) Create a project that combines a variety of materials: Clay with metal Vases Clay with wood Bowls Clay with leather Abstractions Jewelry Candle holders Mugs Lamp bases Pitchers Figures Draping Methods of Sculpture Working Knowledge: Preparedness Necessity fur simplicity and directness of approach Fluidity of form Figures Animals Birds Frye form A/ate/lab: Tools Media Container for NVood Plaster of Paris Plaster Water NVire ( plastic) Fabric Excelsior Paper Paint Sprays Glazes Shellac Varnish Concepts: Application of quick and easy method of sculpture. Use of simply wooden support (plaster base). Addition of wire for rhythm, contrast, and emphasis. Need for nnderpadding of soft materials. Preparation of plaster. Methods of dipping and draping. Necessity for special attention to the rhythmic move- f ment of the folds. Introduction of conventional methods of finishing -, Advantages of draping technique for specific effects. Si. irl F' 44 .1I aterials and Tools: ., 1.

Plaster of Paris or Clay \ UAL gypsum Rubber cement s, Rubber mold Razor blades Shims laird Plasticine Shellac Rope. robber tubing Newspaper N1asking tape Elmer :s glue References: Contemporary Sculpture Techniques, John Baldwin; 2.Studying of animals from anatomy books: Reinhold a.Construction nf a wire armattir elf ati animal to A Sculptor's Manual, Clarke and Stroud; Reinhold he coveryd by plaster, using burlap where necessary Staram:with Sculpture, Robert Dawson; Watson- h.Form abstract and conventionalize these studies Good! in clay. Sculpture (1) Finish with steel wool and sandpaper. (2) After baking use to decorate with stains or glaze. Suggested Projects: Concepts: I.Make sketches while observing animals.Draw your pet in various positions. Construction of a flexible, functional armature which 65 Bas relief Reliefs Round

Concepts: Additive method of sculpture Possible use of armature, skeleton of framework Turning model as development proceeds Different techniques for finishing

Working Knowledge: The difference between bas relief and sculpturein the round. 44414 Importance of proportion, texture, rhythm, andunity. ttip Dramatic quality of understatement.

will express the personalityor emotion of the crea- ture when covered by plaster. Stress large rhythms, line, andmass. Omit too much detail.

Portrait in Clay Working Knowledge: Modeling of a life-size head, eithera likeness or com- posite. Style and degree of realismto be determined by pupil. Good structure. Awareness of theanatomy of the human head. Sculpture: MobilesStabilesWire Working Knowledge: Three dimensional art forms. Space and lightare part of their design. Sculpture: From Solid Forms Carving and Cutting: Concepts: The subtractive method Creation with mass, simple rhythmical, flowing lines Plaques or geometric shapes that are thoughtfully balanced. Has relief Suggested Projects: Round Incised 1.Wire animals 2.Decorative holiday stabiles 3. Wind bells Concepts: 4.Mobiles Subtractive method of sculpture. Need for preliminary drawing and carefulplanning. Background and Appreciation: Demand for accuracy and kinesthetic control. Study the relationships ofspace, form. and color in Working from coarse to fine cutting tools. works of art including G. cometti, Eames, Moholy- Various materials thatcan be used. Nagy, Gab o, Glee, Calder, Henry Moore. Need for texture on certain materials. Positive and negative space. Experiences: Techniques for cutting. Modeling the additive method Safety precautions. Plaques Characteristics of materials. 66-- AVRILIALE BESTCOPT Sculpture Individual teacher to determine materials suitable for The ability to transform inert stone, clay, or wood class. into a dynamic, lifelikecreation through various Working Knowledge: processes. A respect for the possibilities and limitations of the Materials that may be used. material. Sculpture forms Representative Abstract Stylized Distorted Non-objective Good designrecognition of it and working for it. Concepts: Various materials and how to work with them. Individual ways of working and soeing. Development of good work habits. Suggested Projects: Study sculptured representations Actual objects Pictures Museum visits Afedia: Pupils make picture file of examples Wire Plastic Metal Bend Drill Shape Background and Appreciation: Twist Form Pierce Study work in stone by Michelangelo, William Zorach, Hammer Cast Drill Henry Moore, Carl Miles, Naguchi. Shape Cut Cut Notch Rasp Planish Study reliefs on cathedrals of Europe. File Solder Study work in metal by Brancusi, Giacometti, Lehm- Dye brack. Cement Study work in clay by Jacob Epstein, Archipenko. Wood Clay Glass Study Greek. Roman, and Egyptian styles in various Drill Model Break materials. Notch Press mold Cut Gouge Incise Heat and Objectives: Split Cast melt An understanding ofline,texture, form, mass, Carve Cut Cement space, and light as applied to three-dimensional work. Glue Slab I )owel Throw An appreciation of the history of sculpture. Nail

Sculpture--(Modeling and Carving) Object ires: AI at trial s: To intensify powers of perception and to create in Tools Media a rich visual dimension. Drills Wire To understand patial organ;zation. Soldering iron Metal Files Wood To relate knowledge Of three-dimension design to Sandpaper Clay architecture and industrial design. Hammers Plastic To be able to determine quality in three-dimension Saws Glass Chisels Plaster of Paris design and as consumers make intelligent selections. Mallets Solder To encourage creativity with something that gives Knives Adhesives personal satisfaction. Shears Liquid steel Pliers Foils Screws Containers Scissors Armature wire Nails Sculp metal

67 Use: Modeling and carving materials-- Papier macho ti Sawdust and paste Sawdust and plaster Plaster of Paris 41116111 Cement Plaster and Vermiculite 11,6 Sculp-metal Asbestos, plaster, and cement Irt, Sandstone 0;c40I o, Marble 'tY;- < ...I'd> .51 'a".4,1*, Wood Emphasis: Tools Media Drills Dowels Drill bits Epoxy glue Hammer IImisehold cement Saw Contact cement Files Iron glue Knives Nails and screws Sandpaper Cork Chisel f. Masonite Mallet Pebbles and sand Pliers Found objects Steel wool Various containers Toothpicks Concepts: Straws Making the correct choice of material for using in String a Armature wire solution. Solder Importance of space relationships. Proper use of tools. Suggested Projects: Complete understanding of potential and limitations A solid three-dimensional form which invites physical of material. as well as visual inspection. Construction problems ( if any). A construction with toothpicks or cardboard in which Finishing. planes project into space ata various depth. Add Suggested Projects: color, texture, and perforations. A composition with directional planes. Abstractions Project combining Figures materials A transparent mass with string tensions over wire form. Animals Stabiles A geometric relief with positive and negative shapes. Fish Semi-abstractions Interpretation of animal, human, or abstract figures.

Plaster Sculpture lVorking Knowledge: The mixing, pouring, and caning of plaster. The construction of bases and armatures to support plaster sculpture. The use of Paris cloth to fill voids and establish fine details in plaster sculpture. Concepts: On pre-planning of plaster sculpture for control of material and idea. es On rendering form with the simplicity necessary in use 1'41h of the material. BEST COPY AVAILABLE

On individual ways of seeing and working. Sculpture for Beginners, Henry Lion; Foster, Inc. Understanding the use and care of plaster tools and Sculpture Techniques in Clay, Wax, Slate, Frank Elli- riffles. son; Chilton Company. Suggested Projects: Periodicals: Research and make detailed studies of ideas. Utilize various sculpture formsnon-objective, realis- Ceramics, Professional Publications, Columbus, Ohio tic, abstract, stylized. Ceramic Horizons, Lawhead Press, Inc., Ohio Notebook of ideas which might inspire project. Craft horizons, Craft Horizons, Inc., New York NVrite a report on each project. Design, Design Publishing Company, Columbus. Ohio flandweaver and Craftsman, Handweaver and Crafts- Background and Appreciation: man, Inc., New York Class discussion on techniques as seen in reference Interiors. 1Vhitney Publications, New York material ( actual and pictured). School Arts, Davis Publishers. Inc., NVorcester, Mass. Contemporary audio-visual aids in various crafts fields. American Artist, Art and Activities, Educational Press Demonstration by instructor. Association of America. Kurtown, Pa. Study of the relationships of space, form, and texture Art Education. Educational Press Association of Amer- in works of art. Field trips to craft shows and community areas of ica, Kurtown, Pa. Art in America, 6.35 Madison Ave., New York, N. Y. interest. Discussion of articles in current crafts periodicals. Grade Teacher,EducationalPressAssociation of America, Kurtown, Pa. References: Instructor, Owens Publishing Company The Techniques of Sculpture, John Mills; Reinhold Art News, Newsweek, Inc., New York

Sand Casting Objectives: An increasing ability to unite form and function in ;1 a pleasing design. :g A respect for the historical background of the has ye; relief. An awareness and appreciation of contemporary work of this type. The ability to cooperate with others. Materials: Sand Plaster of Paris NVire mesh NVire support for hanging Wooden frame Exotic and common articles for making impression Patterns Study and Discuss: The historical significance of the has relief. Suggested Projects: The use of bas relief as architectural decoration. A series of related panels to be hung in the school as a group project. Visit: An exterior or interior has relief for a home. Museums and other public places where examplesof Small chcc.-ative panels with inspiration from nature. has relief may be seen. geometry, or man-made articles. Oft100120. Sand Casting SW

To gain understanding about thevarious methods of making relief sculptures. To become aware of this craft in relationshipto the great friezes of the past. To provide opportunity forgroup experience. Materials: Wire Simple wooden frame Clean sand Screen Plaster of Paris Water Any type of common article for impressions Concepts: Design adaptable for Screening, material Pressing design Group project Casting Light and shadow effectsFinishing (relief ) Suggested Projects: Objectives: Panels (individualor groups) To learn about bas relief and workin a new way Murals (exterioror interior) with interesting material. Small relief (for individual enjoyment)

Casting Experiences: suggested Projects: Casting simple and intricate forms Importance in developing resourcefulness,powers of Liquid rubber casting methodsin combination with observation and research tecniques, andin learning to cradle molds plan work within certain specifications.It provides Papier machi. the student with the opportunityto work with a multi- Lost a ax method tude of materials. Concepts: Methods of reproducing three-dimensionalobjects Various techniques for casting ea .11aterials: Tools .11edia 0. Ruler Chipboard Masking tape T.squarc C:ommon pins Paint Compass Sticks Wire Plaster of Paris Papers . . Fabrics Paste (;hue Woo d Plasticine Metal Class Many students are delighted with themaking of Working Knowledge: models and the results and %villcontinue in this area, aepting increasinglydifficult Knowlvdgf of posiiive and negative form,chemical challenges.Models reaction. energy, and heat. have an importantuse in the field of architecture aial Release of air pressure. in community promotion and goodmodels ale in Solving the problem of undercuts. demand. t'se of dividers of shima. liefereueev Limitation of the medium. Technique of Castirw, John Milk licinhold Need for careful planning and thorough execution Contemporary Sculpture Techniques, .lithelialdx+ along with resourcefulness. 70-- Glossary of Art Terms BEST COPYAVAIUIBLE

:=-7.-tAitiolitte-4 Pure)s fornts as Manner of treatment. Positive, Collage Composition matte by assembling, pasting, and gluing certain, final, orif-sufficient. materials to a surface. (Can be combined with drawing, AbstractAn interetation that expresses the essence of a Painting, and glaring). figure, object, or place in lines, geometric forms or planes Co/orsPrimaryBed, yellow, and bluethree basic hues With little regard for its natural appearance. which cannot be produced by a mixture of pigments. Academic -- Literary rather than the technical.Theoretical SecondaryOrange, green, purple; colors achieved by mix- rather than pketkal. ing primaries. AccentThe emphasis of dr Ic or light in a drawing or of color TertiaryColors derived by mixing secondaries; sometimes in a painting. called intermediate hues. AcetoneA solvent for plastics. AnalogousColors closely related, neighbors on the color Aesthetics -- Appreciative of, or responsive to, the beauty in art wheel; sharply contrasting hues. or nature. TriadColors equidistant from each other on the color AlcoholA solvent for shellac (methanol or shellacol). wheel. Alla PrimaA method by which a painting is usually completed WarmColors usually associated with fire, sun, and earth: in one sitting. Painting in a direct method. brown, red, orange. AnnealingTo toughen metal by heating the metal and gradu. CoolColors usually associated with water, sky, spring, and ally cooling. foliage: green, blue, turquoise. App/iqueOrnamentation of fabric. An ornament of one mate- Complimentarycolors which are exactly opposing physi- rial is sewed or fastened to another material. cally. AreaAn enclosed, limited, flat space. ContourA line drawing delineating the external characteris- ArmatureFmework used to support modeling substances tics or boundaries of a shape or form. such as clay, papier mache, or plaster (usually made of Coping sawA small hand saw used to cut circular and irregu- wood, metal, or wire mesh). lar shapes in plywood, gypsum hoard, masonite, and heavy Asymmetric --A balance in art composition based on an in- adboards. formal relationship. Counter enamelingTo enamel the back of an enameled piece. AtmosphereA relationship between parts which give them CraftsAn area of art which emphasizes the making of objects the effect of having all been seen under the same conditions. of beauty by hand musing varied materials. BalanceThe harmonious arrangement or adjustment of the DesignTo outline, sketch, nr plan a work of art in a skillfol weights amount, or values in a design to establish equilib- manner: also a work of art possessing all the principles of rium. designs, rhythm, balance, proportion, harmony, unity, em- BalsaA strong, light wood for carving, construction, model phasis. building, or for collages.(Available in sheets, strips, or DiptychAn altar piece consisting of two hinged panels. blocks.) DistortionDeliberate or intuitive alteration by the artist of a Bas relielLow relief sculpture ( the opposite of incised relief ). natural shape, form, or surface. BatA flat, level plaster slab used to absorb moisture from wet Dry brushControlleti amount of water used in brush for clay; also used on the wheel to aid in throwing ceramic strokes. objects. Dry pointAn engraving made with a needle instead of a Batik A method of creating colored designs on fabric by coat- burin and without acid. ing with wax those areas not to be dyed. (Tenn also used DyeTo color or stain; to change hue of a cloth or material; to describe the resist techniques.) also the material used for staining. BeeswaxA wax secured from melted hone combsused in DynamicSuggestive force or .movement, not static. combination with paraffin for batik. Empathy The projection of one's personality into the object BisqueUnglazed pottery after first firing. of contemplation, a feeling of °nest* into a work of art. Bit--A tool used with a brace for drilling or boring. EmbossTo ornament a surface with raised work. BrayerButter roller used in inking printing blo .a EmphasisIntensity, force of expression, stress laid on a par- prayers are also available). ticular point in a work of art. BrightA brush with short hard bristles. Enamel ( 1 ) A type of paint or varnish that dries to a hard CalligraphyBeautiful handwriting. The art of fine writing. shiny finish and also is known for its quick drying ability. Excellent in live-in art. (2) A vitreous colored paste or powder that solidifies when CariratureA picture representation that ludicrously exagger- fired; used on metals. ates or distorts characteristics or peculiar features. E,wantsic A method of painting with colored wax, which is CartoonA preliminary drawing, or an exaggerated drawing fused with heat to fax the colors. or reproduction &me for a newspaper or magazine. ErignbcLitraid clay or slip applied as color for surface deco- CasciaA heavy, water-soluble paint with a milk base. ration in ceramics. Casting --A term used in many crafts, especially in ceramics EngravingThe process of incising or scratching into metal or and metal crafts. This is a shape that is the result of pouring other prepared surfaces with a sharp tool. some compound into a mold. The result will be a duplicate EtchingTo produce a design on metal or glass by using a of the a bjct from which the original mold was made. corrosive to make the lines.After applying ink to the sur- CeramicsA general term for the art of using day bodies face, an impression may be taken. industrially, vonnewrcially, or for fine art work. Fabri A cloth made by weaving, knitting, or felting fibers. CharapicreA process of enameling in which the designis Fettling knifeA sharp, flexible-bladed knife similar to a paring cut out of a metal plate, leaving thin raised lines that create knife. ompartmrus to hold the enamel. Fine artsThe appreciation and the expression of the arts, such CharacterIrulividnality. as dancing, drama, painting, sculpture. architecture, litera- ChromaThe rehtive brilliance or intensity of a color. ture, and music. Classiallo accordance.with ancient Boman and Greek FiringProcess of baking clay pieces in a kib. at high tem- models. perature mini point of vitrification is reached. Cloisoroo:A method of decorating metal. which consists of FixativeA commercial preparation in liquid or spray form yonstnictillt; a design on :tlotal or porcelain ground in mused to protect easily stioolged surfaces. little fences of metal and filling the spaces with various FlatA brush with longhaired bristles. minted s intotts pastes (unalliels Flat colorAn even or uniform area Of color.

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FluxAny substance or mixture, as silicates, limestones, and boomA machine or apparatus for weaving yarn or thread. fluorite. used to promote fusion, especially the fusion of MacrameDesignsmade with coarsely knotted thread, yarn, . metals or Minerals. cite. FoilAmetallic sulstance formed into eery thin sheets by MatquetteArough mihiatitre Model used by sculptors as it rolling and hammering. guide for a larger, finished work. Foreshortening- -Theapparent visual compression or distor- Ma sterpieceAterm used to denote excellence at a high level, tion of forms in a composition to indicate depth in space. the best of an artist or craftsman. FormUsually a sculptural or three- dimensional shape defined MassThe effect and degree of hulk, density, and weight of by its characteristic contour. matter in space. Free formForms having no definite shape, amnehoid forms. surrounding area between the frame andthepicture. FrottageAdesign created by rubbing a grease or wax crayon Math A dollsurface. on thin paper placed over objects with raised surface quali- Medium (media) Thevehicle or liquid with which a pigment ties such as reliefs, mosaics, leaves, hark, or seaweed. is mixed. In a more general sense, the substance, material, FiontionatServing a function or useful purpose. or agency through which the artist expresses his idea, such GenreCompositions which emphasize themes of domestic and as stone, metal, pigment, enamel, etc. everyday events. ,Mobil' Anart construction or piece of sculpture,usually Geometric formsArtforms based on basic shapes of circle, abstract which has the qualities of fluidity, movement, and triangle, square, rectangle. etc. versatility in response to external stimuli. GessoPreparedplaster mixed with n binding material and Modeling-1ndrawing or painting, gradations of light and used as a ground for painting or for relief. shade reflected from the surfaces of matter in space, or the G/azeA transparent or opaque surface finish applied to a illusion of such gradations on a two-dimensional surface. ceramic or metalware. In sculpture, built-up form effected by "adding to" rather GlazingPutting a transparent coat of paint over a light under- than "subtracting from"; distinct from carving which sub- painting. tracts to evidve sculptural form. Glossyflasingthe quality of a lustrous, glazed, smooth, or MoldHollow shape into which plastic material is pressed or sleek finish. poured; also the act of shaping material this way. GouahrA painting with opaque or body colorsnon. MonoehromatieOnecolor; hi color scheme, one color with transparent. all its tints and shades. GreenteareAnyclay piece that is still damp, or unfired and MonogramAdesigned character consisting of two or more still requires drying. letters combined or interlaced; commonly, initialsto be GrissilleThepainting of the subject in gray colors, used as an printed on textiles, paper,etc. undrpainting. MonoprintAtype of print or engraving that can reproduce Gouge.tool used in the block printing crafts.A gouge only one of its kind. usually cuts a wide surface and has a beveled point. MosairA design or compositinn formed by the planned juxta- GmgCround bisque ware. position of clay or glass tessera cemented in grout or mortar. GroutA thin mortar used to fill up or finish the spaces be- MotdDistintive design or figure that is developed and re- tween tessare. occurs in variation throughout an art work as the dominant Gum Aral.4,.Ctunused as a binder for clay or glaze; some- idea or feature. times called Int:acetateAlso used in copper enameling to Mural ---.1wall painting which usually tells a story through a adhere enamel to copper before firing. sequence or in episodi arrangement. liaonyAnelement of design; the consistent, orderly, or NeutralWithout definite color identifieution (black, white, or pleasing arrangement of parts in a total pattern. gray ). /Harness :1 device used in weaving. Used to hold the teddies. NibThe point of a pen. IlatehiagAsystem for imildieg up tones or shadows by using Non-abfretirirert3iningto a painting or sculpture that has :t series of lines at various angles crosshatching. no subject matter; pure abstraction. HurColor. Obiiqueticither perpendicular nor parallel; designates slop- ImpastoA particularly thick or heavy application of paint. ing or slanting. IncisingC:uttinginto a surface with a sharp instrument; a Opaattelmpnetrable to light; non-translneent. method of decorating on pottery or wood. OrigioniAntientart cif Japanese paper folding. hike bourn :1 very simple loom which detives its name from OrerghzeDcorntionapplied after glaze fire. the Scottish wool. "inkle" which means a very narrow band PaletteAsurface used for the purpose of mixing paints. or strip. Papier ahr."Asobstane made of paper pulp conditioned IntaglioAn ineised figure or devoratinn depr ised below the with sizing or paste. %enla of a stout. so that an impression from it >kids an Pattern :1 decorative design using a repeated motif. image in relief. Perspertke Ascheme or forumla for representing, on one Joint The plateor part where two things or parts are joined plane, distane and distant object. so as to allow motion. Pigment ---A coloring matter or elry substance, usually pulver- jeweler's sawSmall.hand saw used for cutting small shapes ize 11, which becomes a paint or ink when mixed witha from metal sheeting. liquid in whit h it is relatively insoluable, Jitte.1 plant fiber used in the making of burlap. Plane :A flat. umitimmus surface that does not change direction. KinaestheticPnalucing motion in a design or painting. phoosioogLovel, smooth pounding or rolling of metal. Luringtniting materials by texture or by leather strips or nanographiPrinted from a Hat surface. as a metal plate. cord passed through eyelet holes. Plaster of ParisA white powder (calcium sulphate) which Leno.1 term used in the weaving crafts. This is a technique when mixed with water form, a qte-k -setting casting or of twisted pairs of warm threads being wets en between the construction material. filling. Plastic- -PLotit% can lie organic or .4:alllic.. These materials LorlitowProuss of cuameling metal m which the entire sur- call lit' Il101(1111. face is emered in a cootigmoi, or t ontilmoos manner. Illatelial of an oily composition that dries Liar .1 mark made by a moving point. more slowly that) Line cutter ---.1 sharp Waded steel tool used fur cutting Phone'-aqour- -Enameling IIIIKTSS not backed by any metal. designs in silk screen film. l'oharhre owe! et. --Changing ea many colors. LinoleumA material used for blot k pruttiottbattleship'. robeet-il---A 'noon% usually an altar piece ni the folio of mutt Lithography :1prat ess of printing four: a stone or prepared than throes le.1%1 hinged together. metal plate 'mob ing the use of a grease crayon mid ink in Portrait-:1 pittnial leprestlitation of a persim; n,iu.tlly (hirts making impressions of this composition. a fare.

- BEST CO AVAILABLE Positive-negativePositive areas in a composition are definite StippleTo paint, engrave, or draw by means of dots or small forms and shapes; negative areas are the unoccupied or touches. ""(?4'.f - empty spaces. StitcheryThe designing in a fabric or material with thread; a WheelItevolvitig wheel, driven by band, foot, or form of sewing or embroidery. electric power, on which clay can be "thrown" to make StructureOrganization, composition, as "art structure"; for- variously shaped objects of day. mal organization. PotteryObjects of any kind that are made of earthenware StyleThe quality that gives distinctive excellence to art. Also and hardened by firing. a current group of forms united by reciprocal fitness and PrintAnything that leaves a printed impression on one sur- expressive of a civilization, of a people, or of an individual. face from another surface. StylizeArtist individual distortion. ProportionThe mathematical relation or ratio or the parts of SubordinationThe placement of certain objects, shapes, and an object to each other and to the whole. colors in a lower order or rank of importance in a design. PuppetAn artificial figure with jointed limbs, moved by band SymbolA sign or object that stands for or suggests something or stick or by striders.All marionettes are puppets, but all else by reason of relationship, association, convention, or puppets are not necessarily marionettes. accidental but not intentional resemblance. PymmeterAn electrical device used to measure the heat of a SymmetryCorrespondence in size, shape, and relative position, of the parts that are on opposite sides of a dividing line or RaffiaA palm fiber available in a wide range of colors. median plane. RealisticA mode of art characterized by representation of Tactile --- Refers to sense of touch. things as they really are; sometimes synonymous with photo- TechniqueMethod of procedure involvedintransforming graphic. matter or artistic media into a work of art. Reed In a loom, the series of parallel strips that force the TemperaTenn used interchangeably with the commercial weft tip to the web and separates the threads of the warp. product poster paint. Reli /Projections of figures and forms from a fiat surface. Terra ratio -- Variable color of hard-baked day, red to reddish Raid printingPrinting from a raised surface. yellow, and of high saturation. Loosely means unglazed! clay. RepetitionThe process of organizing a work of art by obvious Tes.oraSmall pieces of glass or stone used in making mosaics. repetition of the sauce linens, shapes, and colors and other TextileAny material that is woven. forms. TextureThe sunsitons or tangible quality of a surface or the RepousseProcess of decorating metal by beating it into relief simulation of such qualities in drawing, painting, or sculp- from the back, leaving the impression on the face. ture. RhythmAn element of design that establishedaproper Three.dimensiormiPertainingto any design or sculptural relationship and interdependence of parts to theartistic work that has length, width, and depth. whole through regular recurrence of elements of motion. TintThe lighter color value. RongeA red powder, ferric oxide, used in polishing metals. ToneThe value and chrome quality of hue as used in painting. Renting heavy cotton yam. ToolingThe designing or ornamentation of leather or metallic Stine/castingMethod of producing a casting by pouring Plas- materials by means of compressing or pushing out with a ter of Paris into sand molds. suitable tool. SaturationThe greatest possible intensity of a color. ToothThe textural surface quality of the white canvas or ScaleThe mathematical relationship or ratio of the partsor paper, varying from rough to smooth. totality of an object to its function or to the size of the Transition The process of softening opposition; e. g., the use original form. of a diagram movement between a horizontal and vertical ShenieA color arrangement, as "color saline"; the colors image. used in a particular work. TranslucentSemi-opaque; a design or painting that has rays ScoringThe prearranged folding -lines of paper patterns in of light transmitted through itin ruh a way as to show preparation for paper sculpture. clearly bodies behind or beyond it in full outlin. Sculplorr-in-the-roundFree-standing forms,carved or mod- Tripoli( :ompound used for polishing scratches in metal. A Bled in three dimnsions. dustlike silica. ScumbleA painting term referring to the softening ofa color TriptychA painting in the form of three leaves or panels, by the application of another opaque color over it. hinged together. SgraffitoDuoration produced by scratching througha surface TsantungUsed for applying hot wax to a fabric in batik layer Of plaster. glazing, etc., to reveal differently colored process. gromid; used in jewelry. TusheA lithographic and silk screen liquid used for stip- ShadeEift pi-calmed by adding black to the normal color. pling, penwork, and filling in solids on silk screen stencils. Shudotch dark area on a form which intercepts light. Two-elimemianalPertainingtodesign thathas onlythe SimuhThread carrier on a loom. dimensions of length and width; commonly known as "flat SillionetteA two-ilimensional outline ofan object in space. pattern." SketchA brief study of a subject, a drawing complete in itself. Underglaze!tottery colors used for decoration; these colors are SlipLiipoil clay. flat. SohlerAny of maoy alloys. Used to lose two pieces together. UnityThe oneness or wholeness of a work of art. No/rent.1 liquid which dissolves or reduces the viscosity of ValueAn attribute of color,its lightnessor darkness; for other (Turpentine is a solvent for oil paint.) example, the values of red would range from pink to maroon. .Spac --Thri-dimensional. in art, a structureor form possess- VitrificationThe process of becoming glass-like,as in a glaze, ing thickness. or depth as well as length and bre.olth. urnonporous, as in ceramics. Soon gi.cA hard piece of rubber braced in winaln handle WarpThe lengthwise (vertical) threads in which a loom is and used to force ink or paint througha silksi rem for strong. printing. «'a.11The application of color in a thin fluid manner. Di- StahileA sculptural construction, usually abstract inpart, that luted pigment. remains in at liVrd Wedging :1 method of preparing clay by kneading it to expel Stained Chnv--(;lass colored by varionsprocesses. often used air pockets and make it constantly plastic. in church w;mlows. oo,/cut --:1 design engrav eel swim a !dok of maid iu sucha Std./witA thin sheet of cardboard, paper, metal, or film cut way that the background is cult 4W.4) to a slight depth and thrinigh in soh a way as to reproduce a design when color only the hoes remaining form the design; alsoa printing is rubbed is% yr it. impresani made from such a block. Still hit --A picture or picture set-up mpresenting inanimate WoofS..1in as writ.lime thleads that ton hot zootally in the objects. liowris, Imo. etc. process of weav Mg. - 73 -- 00

Recommended Teaching Aids For information concerning recommended books, films, visual aids, or professional lectures and demonstrators, refer to the following publications: Recommended Art Books for Kansas Schools, Supplements 1, II, III Art Listings of Producers am! Distributors of Audio Visual Materials A Listing of Lecturers and Demonstrators in the Visual Arts All of the above publications arc available through the office of: Gary L. Kroeger Art Education Specialist State Department of Education 120 E. 10th Street Topeka, Kansas 66612

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